#28 Inside Out 2 (2024)

  1. BACKGROUND
  2. PLOT
  3. CHARACTERS & CAST
  4. PRODUCTION
  5. MUSIC
  6. RECEPTION
  7. LEGACY
  8. FINAL THOUGHTS
  9. REFERENCES

BACKGROUND

In a year where movie studios seemed to only release sequels – not entirely true, but it definitely felt like it – Inside Out 2 turned out to be the big winner, both in terms of profits and reviews, from critics and audiences alike.

Pixar might have originally been known for creating inventive, unique films, but since the 2010s, Pixar has contributed to the “sequel fatigue” that many of us are feeling at the moment. It is annoying when studios don’t want to take a risk on something new and choose to take the safer, most profitable route, but I guess that’s business for you.  

That’s not to say Pixar haven’t tried to make something new, because they have. In the 2020s, they released Onward (2020), Luca (2021), and Turning Red (2022), but they struggled with the COVID-19 pandemic, which hampered Onward’s chances of doing well, and led the other two to be exclusively released to Disney+. When theatrical releases did become a possibility again, Pixar chose to release Lightyear (2022), a horribly disappointing attempt at a Toy Story-related spin-off. It was bad. So, who can blame them for wanting a box-office success by going for a sequel to an already popular Pixar film?

However, that doesn’t mean I was excited for Inside Out 2. I enjoyed the concept of the original film, so I was initially hopeful, but when I saw Anxiety in the teaser trailer, it immediately put me off watching it. My problem was that I have my own anxiety issues, and saying that doesn’t mean much to anyone anymore because a lot of people like to talk about their anxiety issues now, some wearing it like a badge of honour or treating it like a jokey label. I’m not about to try and “one up” anyone about this topic because some people will have better ways of handling anxiety than me, and others will have it worse. All I’m saying is that I was concerned about how Pixar was going to handle this particular emotion.

Sadly, after watching Inside Out 2, all it did was make me feel bad about myself and I found myself unable to relate to Riley’s own anxiety. That’s not a big surprise because I’m not a teenager, and Riley’s anxiety was quite specific to her age. I actually don’t remember struggling all that much with my sense of self as a teenager, and I’ve become less self-confident as I’ve aged, especially around my mid-20s, that age when everyone starts competing to see who can hit those all-important “life milestones” the quickest.

Looking back at the film as solely a source of entertainment though, I did like it, perhaps even a bit more than the first movie, because I liked seeing more of Riley’s life, which was left by the wayside in Inside Out as Fear, Anger, and Disgust struggled to deal with her without Joy.

PLOT

The original Inside Out ended with Joy telling the audience that Riley was twelve-years-old. Inside Out 2 begins with Joy telling us that Riley is now thirteen-years-old.

It also starts with Riley getting ready for an important hockey match with her team, the Foghorns. Even Riley’s five core emotions, Joy, Sadness, Anger, Fear, and Disgust, are getting themselves hyped for the game, with Joy acting as the commentator. Each emotion plays a role in Riley’s game, with Anger leading Riley to score a goal; Fear wanting to ensure Riley puts her retainer in; and Disgust showing up to say that retainer she just put in wasn’t her! Sadness appears as Riley gets sent to the penalty box for a bad challenge.

Joy tells us that Riley is a kind, smart thirteen-year-old, top of her class, and she has grown so much since we last saw her and even got braces. Riley’s Personality Islands have changed too, with Boyband Island now completely gone, Goofball Island staying, and Friendship Island increasing in size. Family Island is still there, but it’s a bit smaller. Riley’s memories, now that she’s older, have started to create beliefs which develop into Riley’s Sense of Self. When Riley is uncertain about what to do, like when a girl at school drops all her stuff in class, the Sense of Self pops up and leads her to do the right thing.

In the hockey game, this Sense of Self appears in Riley’s mind. The team need a goal, but instead of trying to score herself, Riley passes the puck to friend Grace so she can score, leading the Foghorns to win the Championships. After the game, the high school hockey coach, Coack Roberts, invites Riley, Grace, and fellow friend and teammate Bree to a hockey skills camp. Riley talks to her parents about the camp, initially feeling excited for it, but then suddenly remembering the moment that led to her penalty and feeling worried…

Back in HQ, Joy has a method to deal with difficult memories like this. She simply sends it to the back of the mind. Joy then picks up a positive memory for the day to take down to the belief system so it can be added to Riley’s super positive Sense of Self that says Riley is a good person. Sadness goes down with Joy to see the process in action for the first time. Joy simply places the memory in a pool of water and a line shoots up from it to create strings of beliefs.

The next day, the emotions are woken by a very loud alarm sounding. They go into HQ to figure out what is going on, and they see the “Puberty” button on the console going off. Joy manages to remove the button and sends it to the back of the mind again, but there’s no stopping puberty! Mind Workers barrel into HQ and start to demolish everything. When Joy tries to stop them, she is told that other emotions are coming. The console is re-wired and the workers leave. The emotions attempt to use the console as Riley has now woken up, however, no matter how gently they touch it, Riley acts erratically, screaming at her mother, who just wanted to check she was ready for hockey camp, and then crying, worrying about what is happening to her. We see inside Riley’s mother’s mind who realises this is “the day” and she talks to Riley about how her body is “changing”.

Riley, Bree, and Grace are driven to hockey camp, where they talk about how exciting it’s going to be. Riley especially wants to meet high school hockey legend, Valentina, and get on the team to be just like her. Riley – thanks to Disgust – notices her friends giving a look to each other. Bree and Grace’s minds notice that Riley has noticed their look. Grace lets slip to Riley that her and Bree won’t be going to the same high school as Riley, so they won’t be on the same hockey team either. Riley is thrown by this and cries a little bit, wondering what this means for her now.

At camp, Riley goes to catch up with Bree and Grace, who have gone on ahead, when she is knocked over by none other than Valentina. She helps Riley up, and Riley proceeds to act like a total fangirl in front of her. The emotions aren’t sure what to do about this situation, and then they see the console has turned orange. Orange? But none of them are orange. This is Anxiety, who has just arrived in HQ. She is a big fan of Joy’s apparently and takes control of the situation. Envy then appears, as she becomes jealous of Valentina’s great hair and goes to touch it. Embarrassment comes in at just the right moment to stop Riley from doing that and making everything even more awkward. Ennui – basically like boredom – calms the situation and makes Riley less excitable. Valentina then invites Riley to follow her. Joy and the other “old” emotions think Riley should spend time with Bree and Grace, but Anxiety says this camp needs to be all about preparing for high school and since Bree and Grace won’t be there with her, Riley needs to be spending time with Valentina instead. There is then a brief cameo by Nostalgia, who is told she is too early to be in HQ and is shoved back through the door she appeared from!

Riley goes to the locker room where Riley is introduced to Valentina’s friends, all part of the high school hockey team, the Firehawks. Joy takes over and leads Riley to meet up with Bree and Grace, however, they start messing about, taking photos on their phone and talking, to the point that Coach Roberts punishes the whole group at practice, annoying the others. At the end of practice, Riley hears the Firehawks talking about her, which makes her both sad and embarrassed. Anxiety takes control of the situation, putting the idea in Riley’s head that if she can get Valentina on side, everything will be ok. Riley goes over to the girls and apologises profusely. Valentina tells her not to worry because at least she is on Coach’s radar now. At this point, Riley’s Sense of Self pops up, not wanting Riley to forget about her friends. Anxiety doesn’t believe this will help Riley so she sends it to the back of the mind, telling Joy she plans to build a new Sense of Self for Riley, since she has more sophisticated emotions now so Riley needs to be more sophisticated. Joy and the “old” emotions tell Anxiety this isn’t right and try to take control of the situation, but Anxiety has a plan and she doesn’t want them messing up. She literally bottles up all the emotions – well, it’s more of a jar, but the turn of phrase is nice – and removes them from HQ, sending them to The Vault with the rest of Riley’s deep, dark secrets.

In The Vault, the five old emotions are soon surrounded by other characters from Riley’s childhood, like Bloofy, a pre-school TV show character, who is in The Vault because Riley still likes the show, and Lance Slashblade, a video game character that Riley has a crush on. Riley’s deepest, darkest secret also resides here, represented as a big, hooded figure who doesn’t say much. Disgust tries to convince Lance to break them out of the jar, but his big move is to curl up into a ball and roll into things, which doesn’t do much to break the jar. Deep Dark Secret instead smashes it. Now they need a way out. Bloofy calls on his friend Pouchy, to see if he might have anything that can open the vault door to let them escape. Luckily, Pouchy has some dynamite – why? – that explodes on to the door and opens it. Guards try to detain the escapees, so Lance curls up into a ball and rolls toward them. He goes right past them, but somehow all the guards trip over each other and get locked in a vault. That was easy. The emotions plan to get to the Stream of Consciousness, to ride it to the back of the mind so they can retrieve Riley’s original Sense of Self.

Back with Riley, she is practising her skating early in the morning, being driven by Anxiety to be the best. She is soon joined by Valentina, who tells her that Freshman Year can be tough but that she made some really good friends. Anxiety continues to add memories into the belief system, which begin to create a new Sense of Self slowly but surely. Riley spends more time with Valentina and her friends, trying to make them like her. She also learns that Coach Roberts has a notebook where she writes about everyone. Riley wonders what Coach might have written about her…

At the Stream of Consciousness, Joy realises they need someone back in HQ so they can be recalled at just the right time with the original Sense of Self. With no volunteers, she sends Sadness crawling up the tube back to HQ. The others then jump on a piece of broccoli that is floating down the Stream of Consciousness. Everything seems to be going well, until the Stream breaks thanks to the creation of a Sar-Chasm. Riley was sarcastic when Bree and Grace showed up to her hang out with Valentina’s group, as they started to say they liked a band that Valentina’s friends think is uncool. This not only upsets Bree and Grace, who feel like Riley has changed all of a sudden, but also halts the emotions’ plan. The emotions try to talk to some workers over the other side of the Sar-Chasm, but everything they say comes out sarcastic, which offends the workers who walk away.

The emotions are back to walking through Long-Term Memory to get to the back of the mind, but they all start to argue, getting annoyed at their situation. Joy then gets irritated at all of them and screams at them. This surprises the others, who make an effort to help Joy who wants to get up on top of the memory shelves to see the route to the back of the mind. Using a vacuum-like tube, they manage to get up there and walk in the right direction.

In HQ, Sadness has arrived through the recall tube in amongst a ton of memories that Anxiety recalled. She quickly runs to a quiet corner of HQ but she is spotted by Embarrassment. Sadness thinks Embarrassment is going to tell Anxiety. He actually stacks up lots of manuals in front of Sadness to hide her, clearly not liking what Anxiety is doing.

Soon, the old emotions reach Imagination Land, which has changed a lot since Joy was last there, with new additions like Mount Crushmore and Rumor Mill. They then see that there is a lot of activity in Pillowtown. Going inside, they see a video of Anxiety, getting workers to draw bad future scenarios to show Riley what could happen if she doesn’t make friends with the Firehawks and doesn’t get on their team. The old emotions don’t like this and start to submit their own positive drawings, which alerts Anxiety to their whereabouts, calling security on them. The workers then revolt against Anxiety and stop drawing bad scenarios. The old emotions are chased out of Pillowtown and arrive at the Parade of Careers, balloons that resemble different professions. They jump on one to continue to the back of the mind.

Anxiety decides Riley has to see what is in Coach Roberts’ notebook so she breaks into her office late at night to read it. Here, she sees it is written that Riley is “not ready yet”, which devastates Riley. Sadness, meanwhile, has managed to take control of the console, thanks to an app on Ennui’s phone, but Anxiety says Riley has to keep going with her plan and holds Sadness in a bucket to keep her from doing anything. Anxiety needs ideas to change Coach’s mind, which causes a brainstorm – a literal one – in Riley’s mind. This affects the old emotions who battle against these ideas flying at them. Joy wants to break them all, but the others convince her to grab onto the largest one so they can get out of the tornado they are stuck in. They then let go and float to the ground thanks to Fear’s parachute. You can never be too prepared! The emotions get to the back of the mind and find themselves in front of a large mound of memories that Joy tossed there. Joy finds the original Sense of Self but sees it has faded. Joy then tells Sadness to recall them, via the walkie-talkies they picked up early in the journey, but Anxiety breaks the tube.

Anxiety has successfully built Riley’s new Sense of Self, but is shocked to find that it states “I’m not good enough”. That throws Anxiety, who then decides what they must do is score three goals in the final game of camp, beating Valentina’s record and showing Coach Roberts, that Riley has to be on the team. As the game starts, Riley aggressively scores her first goal early on. Riley then scores soon after, having stolen the puck from her own teammate. Anxiety starts to push Riley more and more, concerning the other emotions in HQ, to the point that Riley hurts Grace as she continues to play aggressively. Riley is sent to the penalty box. Here, Riley starts to experience her first anxiety attack.

As the old emotions find they are stuck at the back of the mind, Joy realises that she shouldn’t have hidden all these memories away, because it never built Riley a true Sense of Self. She also states that maybe people feel less joy as they age. Joy starts to feel there isn’t a way of beating Anxiety, when Anger calls for Pouchy. They find he still has plenty of dynamite available and they plan to blow up the mound of memories they are in and ride the avalanche back to HQ, accepting that these “bad” memories will enter the Belief System, but knowing it’s probably for the best.

The plan works and they arrive back at HQ, to see Envy, Embarrassment, Ennui, and Sadness all trying to remove Riley’s new Sense of Self, and seeing Anxiety rushing around the console so quickly, she isn’t visible. Joy goes into the Anxiety vortex and sees Anxiety frozen. Joy manages to convince Anxiety to let Riley go and pulls her from the console. Riley is still panicking though, so they replace the new Sense of Self with the old one. It still doesn’t stop anything. Anxiety says she was trying to control who Riley is, which causes Joy to realise she did the same thing by choosing the best memories to put in the belief system. She realises the original Sense of Self is stopping a new one, complete with “bad” memories, from being created, so they remove it. The emotions see the new Sense of Self being created and huddle around it, which calms Riley down.

Bree and Grace come to the penalty box, concerned about Riley. Riley apologies to them for acting the way she did during this camp, saying she was freaked out when Bree and Grace told her they wouldn’t be at high school together. Her friends forgive her, and they get back to the game, with Joy at the console, letting Riley play simply because she loves hockey, not to prove a point to anyone.

We skip ahead to see Riley at high school where she is friends with Valentina and the other Firehawks. Anxiety starts to worry that Riley hasn’t made the hockey team, so Joy sends her to a calming massage chair, and reminds her that they did as much as they could and now cannot control the outcome so don’t need to worry about it. We also see that Anger has started to wear Pouchy, seemingly bonding over their shared love of dynamite! Riley sees a photo of Bree and Grace that they sent to her wishing her luck. Joy then says that Riley is still smart, she still likes hockey, but she can get things wrong, be a bit sarcastic, and be too hard on herself, but it’s all good because they love Riley for who she is. The final shot shows Riley looking happy as she checks her phone to see if she got on the team. I guess that means Riley did make the team, but I also suppose it doesn’t really matter, because that wasn’t the point of the story!

In a mid-credits scene, we see another dinner scene, like in Inside Out, where Riley’s mother’s Anxiety is concerned that Riley just said that hockey camp was “good”. Riley’s father’s Anxiety on the other hand is simply overruled by his other emotions and decides not to worry about it. In an end credits scene, Joy finds herself back at the Vault to discover what Riley’s deep, dark secret is. Deep Dark Secret tells Joy it is that Riley burnt a hole in the rug. Joy is surprised, thinking it was going to be the time Riley peed in the pool. Deep Dark Secret runs back inside the Vault, feeling ashamed.

CHARACTERS & CAST

Inside Out 2 returns with the same five emotions we saw in Inside Out, as well as Riley and her parents, but there are some new additions to the movie as well. These include Riley’s four new emotions, plus Riley’s two friends, Bree and Grace, and the Firehawks girls.

Starting with the emotions we already know, Joy, Sadness, Anger, Fear, and Disgust are all back, and we see that they have learnt to work together in harmony now. However, Riley’s new emotions threaten that balance and they struggle to work together, with this being a battle of old versus new. The old emotions think Anxiety is a nasty emotion in Riley’s mind especially as they are tossed out of HQ by Anxiety. Like Joy and Sadness did in the first movie, they must find a way back to HQ, going through different parts of Riley’s mind first to find her old Sense of Self before heading back to HQ. Although they think Anxiety is the villain here, by the end of the film, they learn that Anxiety was only trying to help Riley in the same way that the others were: by manipulating Riley’s memories and beliefs to make her into the perfect version of herself, which was wrong for all of them to do. They all come together to help Riley, and a new dynamic is formed between the nine emotions.

Amy Poehler returned to reprise her role as Joy, having been previously best known for her roles in Saturday Night Live (1975-present) from 2001 until 2008, and Parks and Recreation (2009-15), playing Leslie Knope. Poehler has most recently directed the movie MOXiE! (2021). Phyllis Smith returned to voice Sadness. She is perhaps best known for her role as Phyllis Vance in sitcom The Office (2005-13). Smith was later cast as Betty Broderick-Allen in the Netflix mystery drama series The OA (2016-19). Anger was once again voiced by Lewis Black. Black began his career in stand-up comedy, later appearing on The Daily Show (1996-present) to host a segment called Back in Black with Lewis Black, humorously commenting on news stories, which he still does today.

Sadly, the voices of Fear and Disgust, Bill Hader and Mindy Kaling, did not return to reprise their roles. This is reportedly due to a pay dispute. It is alleged that Amy Poehler was offered $5 million to reprise her role, whilst the other four actors were only offered $100,000 each. Despite some negotiations, Hader and Kaling could not come to an agreement with Pixar and they did not return to Inside Out 2, which is a real shame because it was only too obvious the voice actors had changed and it was quite jarring for me. I don’t know if this story is actually true, and I hope in a way it’s not, with scheduling conflicts being the reasoning for Hader and Kaling not returning, because this shows some disrespect on Pixar’s part for not recognising the calibre of actor they signed on[1].

Bill Hader, as Fear, was replaced with Tony Hale, who voiced Forky in Pixar’s Toy Story 4 (2019). Also in film, Hale was most recently cast as Soledad Yusuf in the thriller Opus (2025), and has also appeared as Ben Franklin in Quiz Lady (2022); as Ed in Netflix’s Woman of the Hour (2023); and as Mayor of Salem, Jefry Traske, in Disney’s Hocus Pocus 2 (2022). In television, Hale is known for his roles as Buster Bluth in Arrested Development (2003-19) and Gary Walsh in Veep (2012-19). Mindy Kaling, as Disgust, was replaced with Liza Lapira, who may be best known for her role as Mel Bayani in the crime drama series The Equalizer (2021-present). She was also cast as Liz in Crazy, Stupid, Love (2011); and as Robin in Don’t Trust the B—- in Apartment 23 (2012-14).

Also returning to the voice cast here were Diane Lane and Kyle MacLachlan as Riley’s parents, although they only feature at the start and end of the film, since there are no parents at hockey camp. Riley’s mother seems more worried about Riley in Inside Out 2, knowing she is a teenager now and wanting to help her navigate this tricky time. Riley’s father is just going about his business like normal really! Diane Lane has had roles in a variety of movies including as Cleo Trumbo in the 2015 biopic Trumbo (2015); and as Martha Kent in Batman v Superman: Dawn of Justice (2016), reprising the role for Justice League (2017). Kyle MacLachlan appeared in many television series, including Trey MacDougal in Sex and the City (1998-2004); and as Orson Hodge in Desperate Housewives (2004-12).

Riley, however, was recast, simply due to the fact a lot of time had passed between the first movie and the sequel, so Pixar wanted to cast a teenage actress, whereas Riley’s original voice actor, Kaitlyn Dias, was 25 by the time Inside Out 2 came out. Kensington Tallman replaced Dias in the role. I didn’t notice much difference in the voices between the two films so that was good. Tallman had previously had roles, such as Bianca in the Nickelodeon series Drama Club (2021) and as Tiffany in That Girl Lay Lay (2021-24), another Nickelodeon series, prior to Inside Out 2 being released.

Now to the new emotions. The primary one is Anxiety, who is controlling Riley’s newly sophisticated self, wanting her to fit in with the Firehawks during camp, so she can instantly have friends at high school and get a place on the hockey team. Since Riley is going to be without her best friends, Bree and Grace, Anxiety thinks this is a good time to drop those friends and find some new ones that she’ll actually see. It sounds harsh, but Anxiety genuinely thinks she is protecting Riley – until she realises all she’s done is make Riley think she’s not good enough and sent her into a massive panic attack as she tries to push herself to be better. Anxiety learns that she can’t control Riley in this way and with the help of the other emotions, she takes a backseat every now and again when things get too much. One issue I have with Pixar’s take on Anxiety is that she says near the start of the film that Fear is there to protect Riley from physical danger, whereas Anxiety projects potential future dangers. That sounds like a fair description, only Fear did Anxiety’s job during Riley’s first day of school in Inside Out, as he planned out all the worst-case scenarios for the day.

Anxiety was designed to be twitchy, fast-moving, and hyper aware, constantly thinking about what’s next. Her mind is focused on uncertainty and different potential scenarios, wanting to plan ahead to decide what to do if this happens or that happens. Anxiety is similar to Joy in some ways, by being a hard worker and wanting the best for Riley, with Anxiety almost looking like the “uncool” version of Joy with her wide eyes, big head, and crazy hair. Anxiety was voiced by Maya Hawke, perhaps best known for her role as Robin Buckley in Stranger Things (2016-present), appearing from Season 3. Hawke was also cast as Jo March in the 2017 BBC television adaptation of Little Women. More recently, Hawke played Jamie Bernstein in Maestro (2023) and June Douglas in Asteroid City (2023). Apparently, Inside Out 2 director Kelsey Mann met with Maya Hawke for her audition over Zoom as he was on a family vacation in Walt Disney World. He took the call from a backstage office building in Epcot’s Mexico pavilion[2].

Envy is meant to be the emotion that represents jealousy, but apart from a brief moment of Envy talking about wanting Valentina’s hair, I didn’t really see Envy do much envying. She was mostly treated like Anxiety’s little sidekick, helping with her plans. To be honest, outside of Anxiety, the other three new emotions felt like side pieces and weren’t fully developed as I feel the five core emotions were in the first movie. The filmmakers did struggle with the design of this character since envy isn’t a very likeable feature in people, and is often referred to as “the green-eyed monster”. Envy doesn’t look like that, and is actually quite small, with a big voice and huge eyes, supposedly meant to resemble the look of a sad puppy. Envy is meant to be an inspiration for Riley; she wants to be like Valentina and is envious of her skills, so it makes her work that bit harder, although it feels like that is more represented as Anxiety’s plan rather than Envy’s in this film.

Envy was voiced by Ayo Edebiri. Edebiri stars as Sydney Adamu, alongside Jeremy Allen White, in the comedy-drama series The Bear (2022-present), winning a Screen Actors Guild Award in 2024 for her role. She has also had some history with voice acting, voicing April O’Neil in the animated series Tales of the Teenage Mutant Ninja Turtles (2024-present) for Paramount+, and replaced Jenny Slate as the voice of Missy Foreman-Greenwald in the series Big Mouth (2017-present). Edebiri also stars as Ariel Ecton in the movie Opus (2025).

Because of Riley’s now-teenage mind making her say weird, awkward things in Inside Out 2, we had to welcome Embarrassment as another of Riley’s new emotions. The point of making Embarrassment a huge character was because embarrassment makes people want to hide and take the focus away from them. The Pixar filmmakers wanted Embarrassment to be so big that he physically couldn’t hide away. Instead, Embarrassment wears a hoodie which allows him to vaguely cover his red, blushing face. In Inside Out 2, Embarrassment doesn’t have a whole lot to do in HQ to be honest. His biggest contribution to the story is to allow Sadness to hide in HQ, to wait for the right moment to go against Anxiety. Clearly Embarrassment was not a big fan of Anxiety’s grand plan for Riley either.

Embarrassment, although he doesn’t say all that much in Inside Out 2 because he’s so shy, was voiced by Paul Walter Hauser, who has had roles in movies such as I, Tonya (2017), where he played Shawn Eckardt, Tonya’s bodyguard; in Late Night (2018), being cast as Eugene Mancuso; and in Cruella (2021), playing Horace. In television, he appears in the recurring role of Raymond “Stingray” Porter in Netflix’s Cobra Kai (2021-25) and as Travis in Season 2 of Apple TV+’s The Afterparty (2022-23).

Ennui is a bit of a strange emotion to describe, because it encompasses a few feelings such as weariness, dissatisfaction, and boredom, this being the general translation of the word from French to English. Ennui in Inside Out 2 was designed to look like a typical teenager who is “too cool to care”, slouching on the couch, looking at their phone. Pixar actually referred to her design as looking like a “wet noodle”! Ennui’s purpose in Inside Out 2 is to lessen the overexcitement in Riley’s mind, with her bored attitude balancing that out. With “ennui” being a French word, naturally, the Pixar team decided Ennui the character should have an authentic French accent[3]. Adèle Exarchopoulos voiced Ennui here. She received numerous awards for her role as Adèle in La Vie d’Adèle (2013), and was later cast as Clara Saint in the Ralph Fiennes directed movie The White Crow (2018). In 2024, Exarchopoulos starred in the movie Planète B as Julia.

Riley’s friends, Grace and Bree, who are very loyal to Riley despite Riley casting them aside in favour of “cool girls” for much of the movie, were voiced by Grace Lu and Sumayyah Nuriddin-Green respectively. Prior to Inside Out 2, Lu had appeared as Megan in the Disney Channel series Bunk’d (2015-24). Valentina, or Val, Riley’s idol and later friend and hockey teammate, was voiced by Lilimar Hernandez, who already had experience in voice acting prior to Inside Out 2, having voiced the character of Sage in the animated Nickelodeon series Knight Squad (2018-19); Cleopatra in the series Cleopatra in Space (2020-21); and currently voices The Batwing in the Cartoon Network series Batwheels (2022-present). Hernandez was also cast as Sophie in the live-action Nickelodeon series Bella and the Bulldogs (2015-16).

Outside of this, there are some other interesting voice cameos. Yvette Nicole Brown was cast as the strict Coach Roberts. Some of her earlier screen roles include being cast as Shirley Bennett in the sitcom Community (2009-15) and as Helen Dubois in Nickelodeon’s Drake & Josh (2004-07). More recently, for Disney, she was cast as Aunt Sarah in their Lady and the Tramp 2019 live-action remake, as well as receiving the role of Rosaleen in Disenchanted, the 2022 sequel to Enchanted (2007).

Other voice actors to mention are Dave Goelz and Frank Oz, known for their work with Jim Henson and his puppetry series, as well as Oz’s directorial work, returned to Inside Out 2 to voice their role as Mind Guards Dave and Frank, and John Ratzenberger returned to voice Fritz, this being his first role in a Pixar movie since 2020’s Onward. And for all UK viewers of Inside Out 2, Sam Thompson, from Made in Chelsea (2011-present) and various reality shows, including winner of I’m a Celebrity…Get Me Out of Here! (2002-present) in 2023, has a cameo role as Security Man Sam – the bigger guard with the aviators in the Vault escape scene – in the UK release of the film.

PRODUCTION

Inside Out 2 couldn’t have existed without the first movie, which was inspired by Pete Docter’s personal experience of seeing emotional changes in his daughter, Elie as she grew up. Docter was interested in creating a movie that explored the weird place between childhood and adulthood.

In September 2022, at the D23 Expo it was confirmed that Inside Out 2 would be released in Summer 2024 and would continue exploring the journey from childhood to adulthood, this time focusing on the teenage years as main character Riley reaches the age of 13. Meg LeFauve was back as co-screenwriter, now working with Dave Holstein, who has written for series such as Weeds (2005-12) and Kidding (2018-20). Kelsey Mann replaced Docter as the director of the sequel[4].

Mann began his research into the new story for Inside Out 2 by looking at childhood photos of himself. He noticed that as he aged and became a teenager, he started to smile less and less. This gradual apparent lessening of joy in his life around this time was an interesting concept and definitely something that he wanted to explore in Inside Out 2, since Riley becoming a teenager is a big emotional milestone in life so it was a natural progression from the girl we saw in Inside Out[5].

Because of this choice of age for Riley in the sequel, this meant a lot of discussions were needed with the filmmakers exploring their own experiences at that age. Inside Out 2 also benefitted from a majority female story team. Them and other female employees at Pixar were able to sit together and talk through their horror stories of being 13, to use their experiences to make Riley’s journey authentic. At this age, the similarities that cropped up in regards to emotions were feelings about being self-conscious and worrying about judgement from others. It was a difficult time, and it was decided at quite an early stage that they wanted HQ to be destroyed by a wrecking ball to represent the turmoil in the mind that happens as you become a teenager. Big questions also start to arise at this age, like who am I? Where do I belong? And am I enough? These are more emotionally complex emotions than the original five that featured in Inside Out.

To properly ensure Inside Out 2 felt representative of young people today, Inside Out 2 creators built a focus group of girls – dubbed “Riley’s crew” – ranging from the age of 13 to 19 who met every four months so they could be shown clips and moments from the movie and give their notes on them. This helped Pixar immensely and they were very impressed at how seriously the girls took their new role.

Initially, nine new emotions were going to show up, with Shame, Guilt, and Suspicion being just some of the rejected, scrapped new emotions. In the end, the filmmakers spoke to Dacher Keltner, psychology professor at the University of California, Berkeley, who discussed the subject of happiness with the creators of Inside Out. This time, Keltner told them they should focus on emotions that revolve around feeling self-conscious, so this helped them decide on their final choice of Ennui, Embarrassment, Envy, and Anxiety[6].

Some of this decision-making and eventual cuts and edits to the story of Inside Out 2 are evident from the deleted scenes that have since been released. For example, Shame would’ve been featured in a scene, which instead was altered and “given” to Anxiety. This is the anxiety attack scene, which began its life as a “shame spiral”. Here, Riley, Bree, Grace, Val, and the other Firehawks girls would’ve been playing a game of “Never Have I Ever”. Riley becomes jealous that Grace has been more daring than Riley has in her life, which impresses Val and her friends. To get back at Grace for this, the two begin using secrets from each others lives to embarrass them in the game, such as Grace saying she’s never stolen her mother’s credit card, knowing Riley has – we saw that in Inside Out. However, the game takes a disastrous turn when Riley reveals that Grace still wets the bed occasionally, which makes Grace, Bree, and the other girls turn on Riley for being so horrible to her friend. Riley then ran to the bathroom, where she became overwhelmed by Shame with Shame starting a storm in HQ, breaking everything apart, in a similar way to the anxiety attack that we see in Inside Out 2.

Another take on Anxiety had the emotion morph into some kind of supervillain. Riley was invited to a high school pool party, so naturally, she was feeling self-conscious, which wasn’t helped by Joy picking a childish swimsuit with a huge sun on it for her to wear. This was shown in a different deleted scene, which also saw Joy’s light fading and her unable to control the HQ console for unknown reasons. This scene also saw the emotions’ bedroom being shown for the first time, an idea that was kept in the final film. Anyway, at this pool party, Grace goes off with a guy called Joel, leaving Riley on her own. Joy manages to take over the console from Anxiety, causing Riley to act embarrassingly in front of all these high school kids, despite Grace telling her to stop. Riley continues with this and ends up accidentally pushing Grace into the pool. Grace cannot swim so has to be rescued from drowning. This is how Riley “hurt Grace” in this version of the film. The same line was used during the final hockey game in the final cut of Inside Out 2. Riley hurting Grace caused her to hate herself so much that Anxiety morphed into a scary character with blank, white eyes called Self Loathing, who tells the other emotions to point out all the reasons Riley is a loser in an effort to “protect her”. Joy wants to take control of Riley but continues to fade. The old emotions are pushed aside and fall out of the HQ window. It was decided Self Loathing was too much of one-dimensional villain so Anxiety stayed as Anxiety[7].

On the lighter side, there were some fun gags that were also cut from the film. One of these was a scene in Puberty Park, a new land in Riley’s imagination that had popped up once she became a teenager, which would’ve been just like an amusement park, complete with the ride “The Mood Swings”, a “House of Parental Embarrassment”, and a “Wall of Self Reflection”, with the star attraction being the “Emotional Rollercoaster”. There was also the idea of having a Procrastination Land, with its motto being “Always Under Construction”.

There are only four key new emotions in Inside Out 2, but there is one that only appears occasionally and does not contribute to the overall plot. This is Nostalgia, an emotion designed to look like an old granny. She appears from a door in HQ that could actually could be seen in Inside Out, as this door was meant to lead to Anger’s steam room in the original movie. Nostalgia appears through this door a couple of times in Inside Out 2, before being pushed back in by the other emotions since Riley isn’t really old enough to have experienced nostalgia yet! Nostalgia was voiced by June Squibb, who had voiced characters for Pixar and Disney prior to Inside Out 2, such as Gerel in Soul (2020) and the character Jimmy’s Grandma in Ralph Breaks the Internet (2018). Outside of this, Squibb most recently starred as Thelma in the 2024 movie of the same name, and is known for other comedic roles, like playing Estelle Dubois, Hubie’s mother, in the Adam Sandler movie for Netflix Hubie Halloween (2020)[8].

To match the new sophistication of Riley’s mind, Inside Out 2 also pushed boundaries to make their animation more sophisticated. I always like seeing when different animation styles are mixed. There is one scene in Inside Out 2 where this was most evident: in The Vault, the place where Riley’s secrets are held. The Vault looks like an actual bank vault, showing that Riley really doesn’t want her secrets getting out and embarrassing her. In The Vault scene, there are the five computer-animated emotions meeting three characters who are not like them. Firstly, we have the 2D animated characters of Bloofy and Pouchy. Bloofy is meant to resemble a character like Dora from Dora the Explorer (2000-19), being a simple two-dimensional character in a pre-school-type show, who talks to the audience and asks them direct questions, hoping the children watching are shouting out the answers at the screen. Sadly, Bloofy is not being watched by anyone so he spends a lot of time talking to the wall of The Vault, which makes the emotions question his sanity… Bloofy’s sidekick is Pouchy, clearly meant to represent the item bags that some of these children’s show characters have, where the correct item has to be selected. Bloofy was voiced by Ron Funches, a stand-up comedian and actor, known for his voice as Cooper in the Trolls franchise and currently appears as Howard in Apple TV+’s Loot (2022-present). Current SNL cast member since 2021, James Austin Johnson, was cast as the voice of Pouchy.

Alongside these 2D and 3D animated character is a video game character, Lance Slashblade, complete with that level of pixelation that these types of character have. Lance has long, flowing, purple hair, an angular face, and a sword that is shaped to look like a hockey stick. Despite looking like a video game character that would go and fight in hand-to-hand combat, Lance is part of a fictional game where characters battle by rolling themselves up into balls… Lance Slashblade is seemingly meant to resemble a character from the Final Fantasy series, which is quite appropriate since Yong Yea, the voice of Lance, has had voice roles in numerous video games including Final Fantasy VII Rebirth.

There is also the Deep Dark Secret, who is a tall figure, dressed entirely in black with just white eyes and a small flash of teeth. This character is in complete contrast to the colourful world of Riley’s emotions who are scared of Deep Dark Secret initially. Steve Purcell voiced the character. Purcell was a co-director and writer on Pixar’s movie Brave (2012) and voiced The Crow. He also wrote and directed the special Toy Story That Time Forgot (2014) and directed and wrote the Cars on the Road series for Disney+ in 2022.

Outside of these challenges, development on Inside Out 2 began during the COVID-19 pandemic in 2020, which led to filmmakers having to work from home and engage in remote working procedures. Since Inside Out 2 was not released until 2024, I wouldn’t say it was one of the movies most hit by the pandemic. But there was the additional challenge of the 2023 Actors Strike. Pixar completed 30 recording sessions with their actors in the 30 days prior to the strike, and another 30 in the 30 days after the strike to keep on schedule.

Pixar movies wouldn’t be complete without their usual Easter eggs, and one of these referenced the argument between the two Subconscious Guards in the first film, where they debated who was wearing whose hat, because one had written not his name but “My Hat” into his hat. During The Vault scene, you can see a guard’s hat with “My Hat” written into it. The Vault that the old emotions get locked in is a vault with the code ACX111 which is A113 in Roman numerals, with A113 being the classroom that many of the original Pixar creators studied in at CalArts[9].

Another thing to point out is Riley’s hockey jersey number. In Inside Out 2, she is wearing a hockey jersey with the number 28 on it, referencing the fact Inside Out 2 is Pixar’s 28th feature film. Also in the emotions’ bedroom, Joy has an origami figure of Bing Bong on the shelf by her bed, showing she has never forgotten him after his major sacrifice in Inside Out. She also has a figure of the iconic Pizza Planet truck. Pixar always like to include an Easter egg to their upcoming films, so in Inside Out 2, there is a memory ball of Elio in the sarcasm sequence. Elio is coming to theatres in Summer 2025[10].

Despite the usual positivity that is believed to be a key concept of working at Disney or Pixar, shortly after Inside Out 2 was released, former Pixar employees alleged that production on Inside Out 2 was messy, chaotic, and staff were overworked, with many people being laid off during production. There were further claims relating to themes in Inside Out 2 that were allegedly toned down or removed, specifically those relating to Riley’s sexuality. It has been said that after the backlash that came about from the kiss between two female characters in Lightyear (2022), Pixar employees were told to remove any element of this in Inside Out 2. It is possible they had initially planned for Riley’s infatuation with Val to be more like a crush, instead of Riley idolising this girl because she’s cool and plays hockey well. I have no idea how much, if any, of these complaints and comments are true, but it’s an interesting point to consider, whether Pixar did want to distance themselves from making any part of Inside Out 2 relevant to the LGBTQ+ community, as some viewers have been wanting Disney and Pixar to lean more into these themes for years now[11].

MUSIC

Even though the soundtrack for Inside Out was composed by frequent Pixar collaborator Michael Giacchino, the soundtrack for Inside Out 2 was composed by someone else. That person was Andrea Datzman; however, Datzman is not a stranger to Pixar having composed the music for the Dug Days (2021-23) series of shorts that premiered on Disney+ on 1st September 2021 as a spin-off to the movie Up (2009).

Some of Giacchino’s themes from the first movie, such as the iconic one first heard in the piece “Bundle of Joy”, were used in Inside Out 2. “Outside Intro”, the opening track in Inside Out 2 features this piece of music, as does “The Life of Riley”, which is the music playing as Joy catches us up on what’s been happening to Riley since we last saw her.

Datzman still made the Inside Out 2 soundtrack her own, wanting to use some rock elements in the soundtrack to match the toughness and physicality of hockey, showing how strong Riley is. This is apparent in the track “Go Team!”, which is played during the hockey match at the start of the film. The rock elements return for the piece “The Puck Drops Here”, for Riley’s final game at hockey camp.

The best instrumental track for me was “Mind at Freeze”, used for Riley’s anxiety attack. It was a big moment in the movie, to see not only Riley confused about what was going in her body but also Anxiety who was sure she was doing the right thing for Riley by pushing her. It’s an emotional moment to see all the emotions struggle against the panic that has consumed HQ and Riley and try to get everything back on track. The only critique I have of this scene is that in real life, if Riley was having a panic attack for the first time, I don’t think she would’ve come out of it as easily as she did in the film. It only felt like a scary moment whilst it was happening, but panic attacks can make you feel scared and uncertain even after it’s all over.

I also liked the dreaminess of tracks like “Creating a Sense of Self”, which played when Joy took Sadness to the Belief System for the first time, and I enjoyed hearing the return of the Triple Dent Gum jingle, which was written by Andrea Datzman, Pete Docter, and Bob Peterson, being performed by Datzman and Nick Pitera.

There was some additional music in Inside Out 2 outside of the score, like a very small snippet of “Bloofy’s House Theme Song” when we first meet Bloofy in The Vault. It was performed by Ron Funches, and written by Jennifer Rowekamp. There are three other credited songs that are used as background music in other similar scenes. When Riley is hanging out with Val and her friends, they are listening to music. This is when Riley pretends not to like the band Get Up and Glow. Here, a pop song seems to be playing, followed by a rock song, however, I couldn’t hear enough of the lyrics to hear which song it was. The same thing happened with the two locker room scenes. Although I believe the first time when Riley goes to the locker room with Valentina to meet her friends at hockey camp, the song used is “Growing Up” by American rock band The Linda Lindas; I have no idea about the other one. These outstanding three songs are “Baller Dash”, written by John Parker; “It’s The Time of Our Lives” written and performed by Paris Carney, Dakota, and Lachlan West; and “Can’t Slow Us Down” was written and performed by Henry Beasley and Simon Oscoft.

Although the Inside Out 2 soundtrack itself was not nominated during awards season, Andrea Datzman did win the Society of Composers & Lyricists Award for her work.

RECEPTION

After a premiere at El Capitan Theatre in Los Angeles on 10th June 2024, Inside Out 2 was released to theatres in the US on 14th June 2024, with the movie also being screened at the 2024 Annecy International Animation Film Festival on this date. Inside Out 2 hit theatres across the world in the days and weeks that followed. It was released in a wider aspect ratio in theatres to match the expanding console in Riley’s mind and the widening of Riley’s world now that she’s getting older. To compare, Inside Out was released in 1.78:1, with Inside Out 2 being released in 2.39:1, this seemingly being the Pixar standard now[12].

Inside Out 2 was heavily anticipated, even having the biggest animated trailer launch in Disney history thanks to its teaser trailer from November 2023 hitting 157 million views across social media in 2024 – a record that was later beaten by Moana 2[13]. This explains exactly how and why Inside Out 2 did so well at the box office.

From its opening weekend in North America, Inside Out 2 made almost $155 million in ticket sales, going on to make just under $653 million in this market. This combined with the $1.05 billion the movie made overseas gave Inside Out 2 a final gross figure of around $1.7 billion in total, against a reported $200 million budget. Inside Out 2 became not only the highest grossing animated movie of 2024 but became the highest grossing movie of 2024[14].

Inside Out 2 also became the only animated movie to make over $1 billion from overseas markets alone. The Lion King 2019 Disney remake earnt $1.1 billion internationally, but although it is technically CGI, it is classed as live-action by the company. Inside Out, on the other hand, ended up making just under $860 million at the box-office, putting it in the No. 7 spot of the highest worldwide grossing films of 2015 and second highest grossing animated movie of the year after Minions.

Thanks to the stellar financial takings of Inside Out 2, Deadpool v Wolverine, Moana 2, and Mufasa: The Lion King at the box-office in 2024, the Walt Disney Company had a good year in cinema when their Disney Parks were not doing so well, with global economic problems contributing to lower demand and the 2024 Paris Olympics being partially blamed for the lower footfall at Disneyland Paris[15].

It was also stated that Disney+ was finally profitable in 2024. Speaking of which, Inside Out 2 was released on Disney+ on Wednesday 25th September 2024, where it drew in 30.5 million views worldwide during the first five days of its release, becoming the No. 1 film premiere of 2024 and the best film premiere on Disney+ since Encanto (2021). The original Inside Out has had 121 million views globally during its time on the platform so far[16].

It’s not always true that if a movie makes a lot of money at the box office, then it must’ve had positive reviews from both critics and audiences. That was certainly not the case for Moana 2, for example. However, Inside Out 2 was received well by the majority.

Many liked seeing Riley grow in this movie with the introduction of her new emotions, and the message of the movie, about accepting yourself for who you are, being seen as very good and relatable to the modern world. It was heartfelt and creative, expanding on the original story. Some adults even said Inside Out 2 helped them with their own difficulties with anxiety. Everyone experiences anxiety differently though, and Riley’s anxiety was quite specific to teenage life, so take that with a pinch of salt. It didn’t help me in that way, but I did like its creativity and the cleverness of the new mind additions, like the Sar-Chasm and The Vault. I also enjoyed seeing more of Riley’s life in Inside Out 2, something which was overshadowed by Joy and Sadness’ journey in Inside Out.

On the more negative side, some claimed Pixar should not be trying to teach kids about anxiety, feeling it may’ve been too much for certain ages to cope with. Others felt the humour was forced, for example, the mind metaphors being too much at times. The story was criticised for being rushed through to get to the final message, which I didn’t really agree with; Riley was only at hockey camp for three days. Some didn’t like the hockey camp setting either and felt Turning Red (2022) was a much better movie for teaching children about puberty. I actually really didn’t like Turning Red so I disagree on that point. There was also disappointment that some of the cast did not return to reprise their roles, showing that I wasn’t the only one who could tell the difference in the voice actors.

During awards season, Inside Out 2 only won the NAACP Image Awards for Outstanding Animation Motion Picture. It was nominated for numerous awards though including Best Animated Feature at the Academy Awards, with Flow (2024) taking home the award; at the Annie Awards, where The Wild Robot (2024) won; at the BAFTAs, with Wallace & Gromit: Vengeance Most Fowl (2024) claiming the prize; and at the Critics’ Choice and Golden Globes, where The Wild Robot and Flow won respectively. At the Golden Globes, Inside Out 2 was also up for Cinematic and Box Office Achievement, but losing to Wicked (2024). Also at the Annie Awards, Inside Out 2 was nominated for other awards, including Voice Acting for Maya Hawke; Writing; Character Animation; and Production Design, where it lost to The Wild Robot in most categories, although the Writing award was given to Flow.

In comparison, Inside Out won the Oscar for Best Animated Feature, and was nominated for Best Original Screenplay at this ceremony too. This was also the case at the BAFTAs and the Critics’ Choice Awards. At the Annie Awards, it once again won Best Animated Feature, along with a list of others awards, including Outstanding Achievement for Directing; for Production Design; and for Writing just to name a few. Inside Out also won Best Animated Feature Film at the Golden Globe Awards, the Satellite Awards, and the Saturn Awards, amongst many others. It was named as the Best Animated Feature by the National Board of Review too.

LEGACY

Continuing the Inside Out franchise, Disney+ premiered the new series Dream Productions on 11th December 2024, having first being announced in 2023, with further details being released in 2024. It consists of four episodes, at roughly half an hour each, and is set between Inside Out and Inside Out 2. It sees the Dream Productions dream director trying to create amazing dreams for Riley in amongst studio politics.

Many of the voice cast from Inside Out 2 reprise their roles in Dream Productions, with the likes of Richard Ayoade and Maya Rudolph joining the cast as Kenny Dewberry, and Jean Dewberry respectively. Ayoade is known for his role as Maurice Moss in the British sitcom The IT Crowd (2006-13) and hosted The Crystal Maze (2017-20) and Travel Man (2015-present) in the UK as well. He has voiced roles in other animated movies, such as Early Man (2018) and The Lego Movie 2: The Second Part (2019), and Terry in Pixar’s movie Soul (2020). Rudolph is known for her roles in comedy movies such as Grown Ups (2010) and its 2013 sequel as Deanne; Bridesmaids (2011) as Lillian; and Disenchanted (2022) as Malvina. She rose to fame as a cast member on the sketch show Saturday Night Live from 2000 to 2007. Rudolph currently stars in the AppleTV+ comedy series Loot (2022-present) as Molly Wells. She also voiced the roles of Aunt Cass in Disney’s Big Hero 6 (2014) and Daniela Paguro in Pixar’s Luca (2021).

Dream Productions has since won the Annie Awards for Best Limited Series and for Outstanding Achievement for Voice Acting in an Animated Television Production for Paula Pell, who voiced Paula Persimmon, the dream director and head of Dream Productions both in this series and in Inside Out. She also voiced Riley’s mum’s Anger in Inside Out and Inside Out 2, and was a writer on SNL from 1995 to 2013.

During the summer of 2024, the Disney Parks set about promoting Inside Out 2 in the usual way: with meet-and-greets, speciality food and drink, and merchandise.

At Disneyland, specifically at Disney California Adventure Park, there was much promotion for Inside Out 2 during Pixar Fest 2024, which took place from 26th April to 4th August. This included the introduction of Anger as a meet-and-greet character, joining Sadness and Joy in meeting guests. There was also an Inside Out 2 collectible medallion available to purchase at this time, from the machine in Bing Bong’s Sweet Stuff store. More generally, Joy and Sadness were two characters to get involved in the Pixar Pals Playtime Party stage show that ran a few times a day. These two, along with a statue of Bing Bong, were also featured on a float of Bing Bong’s rocket during the Better Together: A Pixar Pals Celebration Parade. Scenes and music from Inside Out were also included in the Together Forever – A Pixar Nighttime Spectacular fireworks show. Outside of that, at the Animation Academy also at Disney California Adventure Park, guests could learn to draw characters such as Joy, Sadness, Anger, and Anxiety. There was even a short film displayed on the water fountains ahead of the water-based nighttime show World of Color – One at this park, themed to Inside Out 2 and its characters. The short was named “Emotional Rollercoaster”.

Also at the Pixar Pier location in Disney California Adventure Park, you can find the spinner ride Inside Out Emotional Whirlwind, where guests spin around in colourful mini-hot air balloons, designed after Inside Out characters. The area is themed to include the shelving in HQ complete with memory balls that are seen in the film, and statues of the five emotions.  This ride opened in 2019, and is a repurposing of a different ride that once appeared at Disney California Adventure: Flik’s Flyers from A Bug’s Land, which closed in 2018 to make way for Avengers Campus. Also at Pixar Pier, there is the Angry Dogs food stand, with Anger being featured on the stand’s signage. This stand obviously serves hot dogs. Then there is a sweet shop named Bing Bong’s Sweet Stuff, which has a statue of Bing Bong inside. The Pixar Pal-A-Round Ferris wheel, redesigned to match the new area of Pixar Pier, includes gondolas with different characters painted on them. Joy and Sadness are two of these.

Also at Disneyland, special PhotoPass Lenses featuring the Inside Out 2 characters were available to use on the Disneyland app, and at the Pixar Place Hotel, there was an exhibit all about Inside Out 2, featuring maquettes of the new emotions Anxiety, Ennui, and Embarrassment, as well as artwork from the film. The Pixar Place Hotel opened at the Disneyland Resort on 30th January 2024 and contains other references to Inside Out. There are small references to the movie “hidden” in murals and paintings throughout the hotel and in rooms. You also might be lucky enough to meet Bing Bong at Pixar Place Hotel, as he has been meeting guests in the area since the hotel opened. 

At Walt Disney World, Joy was given a permanent meet-and-greet location at Pixar Plaza in Disney’s Hollywood Studios around Summer 2024, where she still is today. Joy and Sadness used to have a meet-and-greet location at the Epcot Character Spot, back in 2016, however, this area was closed when Epcot was redeveloping around 2019 and 2020. Joy could then be seen at the ImageWorks, the exit of the Journey into Imagination attraction in Epcot until around 2024 when Figment became a meet-and-greet character in that location. There was also a photo opportunity in front of an Inside Out 2 mural on the walls in the Pixar Plaza area. A sneak peek at Inside Out 2 was also playing at Walt Disney Presents in Disney’s Hollywood Studios.

At Disneyland Paris, Joy met guests at the Worlds of Pixar area in Walt Disney Studios Park during June and July 2024, with Anger showing up as well. Joy was still there in December of that year. It is unclear if she is still there. There are also two small statues of Joy and Anxiety in this area. In shows, Joy appeared as part of the A Million Splashes of Colour parade which ran from February 2024 until the end of September that year. Music from Inside Out and scenes from the movie are currently part of the Disney Tales of Magic nighttime show at Disneyland Paris.

At Tokyo Disneyland, Joy and Sadness have been spotted by guests as recently as 2021. At Hong Kong Disneyland, in recent years, characters from the movie, like Joy, Sadness, and Anger, were included in the Pixar Water Play Street Party here for Summer 2024. It is possible they will return if this parade returns in 2025. The Inside Out theme and clips from the film were also used as part of the Momentous Nighttime Spectacular show at this park. Lastly, at Shanghai Disneyland, Joy and Sadness are a part of the Disney ColorFest Street Party here, as well as Mickey’s Storybook Express Parade. Moments from Inside Out can also be seen in the projections of ILLUMINATE! A Nighttime Celebration.

On the Disney Cruise Ships, specifically on the Disney Wish, is a sweet shop named Inside Out: Joyful Sweets. The characters may also be seen as part of Pixar stage shows and parties that take place on other Disney Cruise Ships. The five emotions of Inside Out were also a part of the Disney on Ice show from 2015. 

Plenty of merchandise has been released featuring the characters of Inside Out 2, including plush toys, books, clothing, mugs, and playsets. There was plenty of specially-themed food and beverage offerings at all the Disney Parks too, including an Inside Out 2 souvenir cup available at Shanghai Disneyland; themed popcorn buckets, along with a tutti-frutti flavoured popcorn, and themed doughnuts at Disneyland Paris; emotion-themed dessert lollipops at Hong Kong Disneyland, with flavours like Basil Lemon for Envy and Thyme Orange for Anxiety, as well as themed popcorn flavours, such as Wasabi for Disgust and Garlic for Embarrassment; emotion-matching coloured cheesecakes at Disneyland Resort; and an Inside Out 2 petit cake at Amorette’s Patisserie at Disney Springs in the Walt Disney World Resort[17].

Finally, in partnership with Airbnb, a house designed to look like the Inside Out 2 headquarters was built in Las Vegas, with the accommodation seemingly being at the top of a huge tower. This was only available to win as a prize from a competition, with 15 one-night stays available to win for stays in July 2024.

FINAL THOUGHTS

There wasn’t too much in Inside Out 2 that I found particularly relevant to my life, but there was one thing. Hearing Riley’s belief “I’m not good enough” a number of times was quite an uncomfortable experience. We’ve all had times when we’ve thought we aren’t good enough. That we’re losers, failures, and will never achieve anything. Well, maybe not everyone has felt like that. Some people are just lucky with their level of confidence, but I think the majority of us have felt like we just aren’t good enough sometimes.

I found Inside Out 2 to be enjoyable as a film, and quite funny in places, even if I didn’t relate all that much to Riley’s journey, however, I am aware that I grew up in a time without smart phones and social media apps, with these only becoming a major part of life by the time I was about 18, and I was not at school or in a key developmental time of life when the COVID-19 pandemic hit. I don’t personally know any teenagers but I’ve read numerous articles about how stressed and anxious young people are growing up today.

I believe that Inside Out 2 may’ve gone some way in helping teens understand how their minds are working and even if they can’t talk to their parents, I hope it’s opened up discussions with their friends and given the adults in their lives something to think about.


REFERENCES

[1] Credit: Samantha Crowell, ‘Inside Out 2: Why Mindy Kaling & Bill Hader Were Recast In The Sequel (Despite Having A “Great Time Working On Inside Out”)’, ScreenRant.com, 28th August 2024.

[2] Credit: Julie, ‘6 Emotional Details About The Making of ‘Inside Out 2’’, PixarPost.com, 16th April 2024.

[3] Credit: Pixar, “New Emotions”, from Inside Out 2 (2024) Disney+ (2024).

[4] Credit: Matt Grobar, ‘Inside Out Sequel Plans Confirmed By Pixar At D23’, Deadline.com, 9th September 2022.

[5] Credit: John Boone, ‘The Inside Story of ‘Inside Out 2’s New Emotions (Exclusive)’, Oscars.org, 13th June 2024.

[6] Credit: Petrana Radulovic, ‘Uncut Gems helped inspire Inside Out 2’, Polygon.com, 16th April 2024.

[7] Credit: Pixar, “Deleted Scenes”, from Inside Out 2 (2024) Disney+ (2024).

[8] Credit: Julie, ‘6 Emotional Details About The Making of ‘Inside Out 2’’, PixarPost.com, 16th April 2024.

[9] Credit: Pixar, “Unlocking the Vault”, from Inside Out 2 (2024) Disney+ (2024).

[10] Credit: Jazz Tangcay, ‘‘Inside Out 2’: All the Easter Eggs and Hidden References You Might Have Missed Including a Nod to Pixar’s Next Feature, ‘Elio’’, Variety.com, 22nd June 2024.

[11] Credit: Dani Di Placido, ‘Disney’s ‘Inside Out 2’ Controversy, Explained’, Forbes.com, 17th September 2024.

[12] Credit: Disney, ‘‘Inside Out 2’ Director Kelsey Mann on Navigating the Emotions of Leading the New Pixar Film’, TheWaltDisneyCompany.com, 12th June 2024.

[13] Credit: Disney, ‘‘Inside Out 2’ Garners Biggest Animated Trailer Launch in Disney History’, TheWaltDisneyCompany.com, 10th November 2023.

[14] Credit: Tim Lammers, ‘‘Inside Out 2’ Ends Its Theater Run. How Much Did It Make At Box Office?’, Forbes.com, 11th October 2024.

[15] Credit: Faarea Masud, ‘Inside Out 2 boost Disney as theme parks struggle’, BBCNews.co.uk, 7th August 2024.

[16] Credit: Disney, ‘“Inside Out 2” Is The No. 1 Film Premiere On Disney+ In 2024, Driving 30.5 Million Views Globally In 5 Days’, Press.Disney.co.uk, date unknown.

[17] Credit: Cayla Ward, ‘New ‘Inside Out 2’ Experiences to Love at Disney Parks, Plus All-New Products’, DisneyParksBlog.com, 14th June 2024.

#22 Onward (2020)

  1. BACKGROUND
  2. PLOT
  3. CHARACTERS & CAST
  4. PRODUCTION
  5. MUSIC
  6. RECEPTION
  7. LEGACY
  8. FINAL THOUGHTS
  9. REFERENCES

BACKGROUND

By the beginning of 2020, Disney were riding high on the commercial success of Frozen II, which had been released to theatres in November 2019, in time for the holiday season.

Meanwhile, Pixar were gearing up for their first movie release of the year. Onward was going to be Pixar’s first-ever March release. But there wasn’t too much concern. After all, there doesn’t tend to be too much competition in the cinemas in March, and Disney had been very successful with their most recent March release Zootopia in 2016.

What could possibly go wrong?

Well, we all know what happened in March 2020. As the world watched the ongoing situation with concern, some of us were determined to go about our normal lives while we could, whilst others were being more cautious, so a trip to their local movie theatre probably wasn’t part of their plans. This would’ve been a concern to Pixar.

I did watch Onward in the cinema with my family prior to the UK lockdown. It was one of the last things any of us did before everything descended into chaos, and we will always remember Onward for that reason. Although Onward was not met with critical acclaim, despite Pixar’s current standing as one of the top animation studios, I did like Onward, as did my family. It was a personal connection to the emotional story that touched me.

Sadly, it didn’t even matter that we and some others turned out to the movie theatres to watch Onward because three weeks after its release, much of the world was living with restrictions, and one of those was to close non-essential businesses, including movie theatres. Pixar’s hopes of financial success for Onward were shattered. 

It might be slightly inaccurate to blame COVID-19 for the downfall of Onward because it was claimed that box-office takings weren’t hugely different compared to what was expected at that point in the year. Onward did not get amazing reviews so perhaps that was the issue. It was quite a different type of story from the studio and the movie’s trailer didn’t help audiences understand what it was about.

For whatever reason, Onward remains as one of Pixar’s “flops”. Not necessarily through any fault of its own, but that is what it is remembered for, if it’s even remembered at all. If you weren’t aware of Onward before the lockdown, you probably wouldn’t have been interested in watching it afterwards. Unlucky timing had destroyed yet another movie.

PLOT

Onward begins with a narrator telling the audience that long ago, this world was full of wonder, adventure, excitement – and magic. Because it was difficult to master, magic faded away from the land, as new discoveries, such as electricity, made life easier.

In present day, we see that this area has become a suburban world very similar to our own but with the presence of fantasy creatures, like unicorns, centaurs, dragons, and elves. And it is an elf’s sixteenth birthday that begins this story. This elf is called Ian. He is socially awkward, struggling to make friends at school, and is quiet and shy. His older brother, Barley, on the other hand, is loud, brash, and overly confident. Barley is also obsessed with a role-playing board game, kind of like Dungeons & Dragons, called Quests of Yore, which references the magic that used to exist in this town, New Mushroomton.

On his birthday, Ian has plans for the day, like finally inviting that group of kids from his class to come to his house for a party, and being able to overcome his fear of driving during a driver’s ed class. But that doesn’t exactly work out…Plus, Barley comes to pick him up from school in his unicorn-emblazoned van called Guinevere, wanting to perform a special birthday ritual, which just embarrasses Ian further and he rushes back home.

At home, Ian listens to an old tape of his dad talking. Barley and Ian’s father is no longer with them, having passed away when Barley was just three years old and before Ian was even born. Ian and Barley’s mother gives them a gift from their father, which was to be handed to them when both of them had turned sixteen. They open it to find a wizard staff. Barley is ecstatic to find that their father dabbled in magic and wizardry, reading the gift’s accompanying letter which has a spell written on it; a visitation spell that will allow the boys to have 24 hours with their dad. Barley locates the phoenix gem in the package that is necessary to assist the spell and begins to recite the spell… Nothing happens. Barley tries again, and again, and again. Still, nothing happens. Disappointed, Ian wants to be left alone, all his hopes of finally meeting his dad and making his birthday worthwhile crushed.

Ian then starts to recite the spell alone in his room. To his surprise, it works and the staff begins to slowly reveal their father to him. Barley comes in to the room and sees Ian struggling with the power of the magic. Trying to help, he rushes towards the staff, only for the phoenix gem to shatter. Barley and Ian don’t see their dad in the room, however, a pair of legs in trousers make their way out of Ian’s wardrobe. They only managed to make half of their dad appear, so he can’t see or hear them. Barley says they should just find another phoenix gem and do the spell again since Ian has the gift of magic. Ian needs some convincing but wanting to see his dad – all of him – he agrees to go along with Barley’s seemingly crazy plan. Using Quests of Yore as a reference, Barley takes them to the Manticore’s Tavern to begin their quest.

At the Manticore’s Tavern, they discover that it is just a medieval-themed restaurant now, run by the overworked, stressed-out manticore Corey. Barley and Ian ask for the map to the phoenix gem. They are promptly passed one of the kids’ menus, but Barley wants the real map, seeing that it is still on the wall of the tavern. With all this talk of magic and quests, Corey is sad about what she has become, seeing her own quote on the wall about having to take risks in life to have an adventure, and starts to go wild, ripping the head off her restaurant’s walkaround mascot, kicking all of her customers out, and setting fire to the place. The map catches on fire, and Barley and Ian rush away from the chaos, with Ian managing to use a levitation spell to save their father’s legs from perishing in the fire, this spell needing your “heart’s fire” in order to be successful.

Outside, back at the van, Ian thinks their quest is all over without the map, but Barley has picked up one of the kids’ menus, where someone has finished the puzzle on it, which states they need to go to Raven’s Point to find the gem. Ian wants to take the expressway there, as he wants more time with their dad, but Barley says they should take the Path of Peril so it is like a real quest. Ian wins on this one and they get on the expressway.

Meanwhile, Ian and Barley’s mother, Laurel, has found they are not at home, and goes out to try and find them. She gets to the Manticore’s Tavern and speaks to Corey. Corey calms their mother down, saying she sent them on a quest – but then she realises she forgot to tell them about the curse! Laurel says they have to get to them quickly, but the police want to speak to Corey about how the fire started. Laurel manages to lie to the police and gets Corey into her car so they can follow the boys.

Back with Ian and Barley, the van has run out of gas, so they pull off the road to fill up, but Barley only has a few drops of fuel left in his jerrycan. Barley gets an idea, that Ian should do a spell to increase the size of the petrol can so the few drops in it will become bigger. Barley gets Ian into the right stance to do the spell and says he has to focus. As Ian tries to do the spell though, he becomes distracted by all Barley’s comments and the can doesn’t increase in size. Instead, Barley ends up shrinking… Fed up with this delay, Ian takes Barley and their dad to the nearest gas station to get more fuel. At the gas station, a motorbike gang of sprites have arrived. Ian tries to ignore them so they can just pay for the fuel and get out of there without any trouble. But Barley, still sprite-sized, decides he has to tell the sprites that they can actually fly so don’t need bikes. The sprite leader accuses Barley of calling them “lazy” and a chase ensues. Because of Barley’s tiny stature, Ian has to drive the van. Ian is anxious but he knows they have no choice as the sprites attack them. At one point, the sprites get inside, but using Barley’s van’s incredibly powerful air con unit, the sprites are blown away. Ian then crosses three lanes of traffic and gets to the exit. The sprites almost crash their bikes, but instead of crashing, they discover they really can fly!

Corey and Laurel are on their way to a pawn shop to retrieve Corey’s enchanted sword, the Curse Crusher, since that is the only way the boys will be able to defeat the curse. The curse will take the form of a dragon to fight them after they touch the phoenix gem. At the pawn shop, Laurel is about to pay for the sword when Corey starts explaining about how rare and powerful it is. The shop owner then raises the price so Laurel can no longer afford it. Corey decides instead of wasting their time negotiating the price, she’ll just sting the owner, paralysing them, so they can get out of there. Laurel throws some money on the desk and apologies, as Corey takes the sword and rushes back to the car.

Meanwhile, Barley and Ian have been pulled over by the police. Their father, with a top-half fashioned out of clothing by Ian, comes out of the van, immediately raising suspicions. Barley, who has returned to normal size, wants Ian to use a disguising spell, but to keep it working, Ian cannot lie. The spell is enacted and they become Officer Colt Bronco, who happens to be their mother’s boyfriend. Ian, pretending to be Officer Bronco, manages to get them out of trouble by saying he was on a driving lesson with Ian. However, as the officers are about to let them go, one of them calls Barley “a screw up” and when Ian tries to say that isn’t true, he is shown to be lying as part of the disguise slips.

They drive away again. Barley pulls over suddenly, upset. The two argue, with Ian trying to make things right again for what was said, but they are distracted by their dad who has started dancing to music that is playing on the van’s radio. They discover their dad was a really terrible dancer! After that brief interlude, Ian asks Barley where he thinks they should go next. Barley wants to go on the Path of Peril so they do. Unbeknownst to the boys, the officers from earlier contacted Officer Bronco as he seemed to be acting weird. Bronco knows it must be something with the boys so he drives around looking for them. He then sees a bumper sticker from the van at the entrance to the Path of Peril and follows it.

In the morning, Ian and Barley find themselves stuck as they come to a bottomless pit with a drawbridge that can only be lowered on the other side. You know what that means; time for another spell! Barley tells Ian to use a spell to make an invisible bridge, but the catch with this one is that he has to trust the bridge is there or the spell won’t work. Ian isn’t sure about this, so insists a rope is tied around his waist. Sure enough, when Ian tries to use the spell, he falls into the pit. Thanks to the rope, Barley pulls him back up. He warns Ian he needs to trust himself but the rope is a good safety measure. Ian tries again – and it works. He makes his way over the canyon, however, midway through, Barley sees that the rope has slipped off Ian. He tries to hurry Ian over the gap without alarming him, but one step from the end, Ian notices there is no rope and panics. He falls, but luckily, he grabs on to the side of the cliff and pulls himself up. Ian then lowers the bridge. Phew, that was a close one.

On the other side of the bridge, Barley notices a raven statue. He wonders if “raven’s point” actually means they need to follow where this raven is pointing. Before they can go on though, Officer Bronco shows up and tells them they need to get home. Ian pretends to follow his orders, but swiftly drives away, so the police pursue them. At the end of the road, they find themselves trapped. Barley tells Ian to use arcane lightning to block the road with rocks. Ian tries but is too flustered to make it work. Barley puts a rock on the accelerator of his van and launches it at the rocks instead, with Guinevere’s sacrifice saving them from being forced to go home as the police cars are stopped in their tracks.

Ian and Barley continue with their dad following various raven statues. Eventually, they get to a raven that is pointing down. Barley believes they have to go underground, but Ian spots a piece of rock with an engraving on it. Barley says that means they have to get to the end of the water. They don’t have much time, so hurry towards a cave with a long river flowing through it. Ian wants to speed this up, so he enlarges a cheese puff which the three ride down the river. Barley then confesses to Ian that instead of having three memories of their father, he actually has four, but the fourth is of Barley attempting to say goodbye to his father in hospital, but being too scared of all the tubes and wires that he never managed to go into the room. From that point on, Barley vowed to never be scared again.

At the end of the water, Barley tells Ian there will likely be traps here. Sure enough, one shows up – a gelatinous cube, something Barley has been talking about on this whole quest! Ian uses spells to get them away from it, but they fall into a cave that is filling with water. The only way to get out is to keep pressing a rock on the cave floor so the opening at the top will appear, but no-one can hold their breath underwater for that long… Except they have half a dad who they can use! Ian leads their father onto the rock with the cable they’ve attached him to and the opening appears. All three get out – and find themselves at Ian’s school, with no sign of a gem anywhere. Ian is distraught, believing it must’ve been at Raven’s Point in the mountains like he first thought, not where Barley said. Ian walks away with their dad to salvage what is left of the day. Feeling guilty, Barley searches around the fountain they appeared from, not wanting to be a screw up like everyone thinks he is.

Ian sits with his father, looking at a checklist of plans he hasn’t achieved. Ian then realises that actually, he did do all of these things, but with Barley who has always been there for him. Ian rushes back to be with Barley, and they find the phoenix gem in the fountain. As they touch it, red smoke pours out of the fountain and a dragon is constructed from pieces of rock and cement from the school building. Corey and Laurel soon arrive, with Laurel riding on Corey’s back, using her wings for the first time in ages, after Laurel’s car is totalled having crashed into a sprite. They try to defeat the dragon, telling Ian and Barley to go and finish the spell. Laurel manages to pierce the “heart” of the dragon with the Curse Crusher, but it is too powerful and isn’t fully defeated; the sword comes out and the dragon begins to pursue Ian and Barley again. Barley and Ian’s dad has not fully regained his form, so Barley says he’ll go and defeat the dragon so Ian can finally meet their dad. Ian says he’ll distract the dragon since he never knew their dad and he’s always had Barley. Barley should be allowed the chance to finally say goodbye to him.

Using magic, Ian sets about destroying the dragon. Although the wizard staff shatters at one point, Ian manages to use a splinter of it to recraft a new one. Laurel then throws the Curse Crusher at Ian who uses it to fully destroy the dragon. It crumbles into rubble with Ian at the centre of it. He finds a gap in the rubble to see their dad. Ian can only see the back of him, and can’t get out of the rubble in time. At sunset, their father disappears forever. Barley tells Ian that their dad is very proud of the people they have become. Ian says he is who he is because of Barley. Barley then gives Ian a hug from their dad.

Sometime later, Ian says that magic has returned in small ways to their town, as sprites can now fly, and Officer Bronco, a centaur, has learnt to run again. Ian even has some new friends now, and to make up for Guinevere, Ian gets Barley a new van and paints another unicorn on to it. The two head off on their next adventure together.

CHARACTERS & CAST

The story of Onward really focuses on four main characters. The first of which is Ian Lightfoot, the sixteen-year-old elf. At the beginning of the movie, Ian is quiet, shy, nervous, and awkward. He doesn’t have many friends and he struggles to speak up for himself at school, leading him to be mostly ignored or forgotten by his classmates. Amongst all of the usual teenage troubles, Ian is also very aware on his birthday that his father isn’t there, and that Ian has no memories of him because he died before Ian was born. This makes Ian wonder who he is supposed to be and whether he is anything like his father at all. Although Ian speaks to one of his dad’s old college friends, and has a checklist of actions to be more like him, it doesn’t work out and it’s not until Ian learns he has the gift of magic, when trying to resurrect his father, that Ian figures out who he is meant to be. Magic makes him special and the quest, as well as mastering the spells, shows Ian all the ways that he has become a great person, someone to be proud of, someone his dad is proud of.

Ian was voiced by Tom Holland, best known for being the current Peter Parker and Spider-Man. Holland first made his appearance as Spider-Man in Captain America: Civil War (2016), but his first Spider-Man movie was Spider-Man: Homecoming (2017). Holland appeared as the character in other Marvel movies including Avengers: Infinity War (2018) and Endgame (2019). Holland has won awards for his performance as Spider-Man, including Saturn Awards for Best Performance by a Younger Actor from 2017 to 2019, and Kids’ Choice Awards in 2020 and 2022. Outside of Marvel, he starred as the title character in the movie Cherry (2021) and is set to star in The Odyssey, a 2026 film to be directed by Christoper Nolan. Holland also recently performed the part of Romeo in Romeo & Juliet on the West End in Summer 2024, with the show reportedly heading to Broadway.

Despite Ian growing up without a father, he has always had his older brother, Barley, by his side. Barley is the complete opposite of Ian, being loud, brash, and overly confident. But he is proud of his little brother and wants him to succeed. For example, Barley’s entire life seems to revolve around the board game Quests of Yore, which is all about magic, so when it is discovered that Ian can do magic, you might expect Barley to be jealous that Ian has the gift and Barley does not, but in actual fact, Barley uses all of his knowledge of magic to help Ian learn how to master his new gift. Barley might barrel into situations without thinking and might be too spontaneous, but he always means well.

Chris Pratt voiced Barley. He used to be known for his comedic roles, such as his casting as Andy Dwyer in the sitcom Parks and Recreation (2009-15), which also starred Amy Poehler. He then went on to be cast as Peter Quill / Star-Lord in Guardians of the Galaxy (2014) and its 2017 and 2023 sequels. Much like Tom Holland, Pratt has reprised his Marvel characters in other Marvel movies, such as Avengers: Infinity War and Endgame. Pratt is also known for his role as Owen Grady in the Jurassic World trilogy alongside Bryce Dallas Howard. He is no stranger to voice acting either, having voiced the character Emmet Brickowski in The LEGO Movie (2014) and its 2019 sequel, as well as voicing Mario in The Super Mario Bros. Movie (2023). When Pratt was cast as Barley in Onward, he excitedly called Tom Holland to say they were going to be Pixar brothers as well as Marvel brothers. It also seems that they got to record some of their lines in the same room as each other, which isn’t overly common in animated movie production[1].

Outside of the escapades of the two brothers, we also get to see their mother, Laurel, go on her own quest – to find them. Laurel is a loving mother, clearly having some misplaced guilt that her children didn’t get to grow up knowing their father, and being especially sad that Ian never got to meet his dad at all. However, Laurel is also tough; she knows how to handle her boisterous son, Barley, and she isn’t scared to fight a stone dragon for instance. Laurel actively gets involved in the quest to protect her sons from the curse that awaits them should they find the phoenix gem, but, despite the danger, she doesn’t want to stop them searching for it. Laurel is eager for her sons to reunite with their father; she wants to protect them from the curse and ensure they get to spend some precious time with their dad.

Laurel was voiced by Julia Louis-Dreyfus, who previously voiced the character of Princess Atta for another Pixar movie: A Bug’s Life (1998). Louis-Dreyfus is known for her more comedic roles, being cast as Elaine Benes in the sitcom Seinfeld (1989-1998), and, from 1982 to 1985, being a cast member on Saturday Night Live (1975-present). In recent years, she was cast in the lead role of Selina Meyer in the hit political comedy series Veep (2012-19), winning numerous Emmys and SAG awards for the performance. She has also had her own experience with Marvel like her on-screen sons, being cast as Valentina Allegra de Fontaine in the Marvel Cinematic Universe, including in the movie Black Panther: Wakanda Forever (2022).

Helping Laurel find her sons is Corey the Manticore. Corey initially is shown to be an overworked, stressed-out manager, having turned her fabled tavern into a restaurant. After Ian and Barley show up looking for the map to the phoenix gem, and for some help with their quest, Corey realises she has become tame and boring. With all that pent-up anger inside her, Corey sets fire to her tavern and in the chaos, the boys flee, not allowing Corey time to tell them about the curse. Luckily, Laurel shows up looking for them and Corey tells them everything she knows about the curse. They go and get Corey’s sword, the Curse Crusher, this being the only way to defeat the curse, and then work together to defeat the dragon. They don’t end up being the ones to vanquish the dragon – that was Ian – but they showed that they are brave, strong women anyway.

Corey was voiced by Octavia Spencer, who voiced the character of Mrs. Otterton, the wife of the missing Emmitt Otterton, in Disney’s Zootopia (2016) prior to her casting in Onward. In live-action movies, Spencer won the Oscar for Best Supporting Actress, and the BAFTA, for her role as Minny Jackson in The Help (2011), and was later cast as Johanna Reyes in the last two Divergent series movies, Insurgent (2015) and Allegiant (2016). Spencer was also cast in other notable movies, such as The Shape of Water (2017), where she played Zelda, and Hidden Figures (2016), playing Dorothy Vaughan. More recently, Spencer played Poppy Parnell in the AppleTV+ series Truth Be Told (2019-23).

A couple of other characters to mention are Officer Colt Bronco, a police officer as well as Laurel’s boyfriend, and Wilden Lightfoot, Laurel’s husband and Barley and Ian’s father. Ian and Barley have gotten used to Officer Bronco being their unofficial stepfather, however, they do still find it a bit weird, especially as Officer Bronco is frequently being hounded about Barley’s constant protests, protesting against the demolition of the town’s magical artefacts and locations. Bronco is also searching for the boys at the same time as Laurel, and he does track them down on the Path of Peril, but instead of being understanding about the boys’ wish to complete the spell to see their father, Bronco orders them to come home straight away. The boys defy him, but Bronco doesn’t seem to be too bothered about it by the end of the movie. They are a more cohesive “family” by then, with Bronco even learning to run like centaurs used to, as Barley told him they did. Bronco was voiced by Mel Rodriguez, who was cast as Todd Rodriguez in the FOX series The Last Man on Earth (2015-18) before appearing as Hugo Ramirez in CSI: Vegas (2021-24).

Wilden Lightfoot mostly only appears in the movie as two legs, meaning that he cannot see or hear his sons. They try to communicate with foot tapping, either Wilden tapping the floor, or Barley and Ian tapping his shoes, but it can’t have been what Wilden was expecting when he gifted the boys the Visitation Spell. He spends much of his time being attached to Ian with some sort of cable, being dragged along on this quest. To animate this, the Pixar team used live-action reference material, dressing someone up in a green screen suit so that only their legs were showing, so that they could figure out how to make half a body communicate and feel like a whole person. Ian tries to fashion a “top half” for Wilden’s legs, but it’s not the same for any of them. Wilden wants to see his sons, and to meet Ian, just as much as the boys do – it must also be quite disconcerting not having a head – so he wants the spell to be re-enacted. When it is, though, because of the curse, Wilden only gets to see his son Barley. It’s a touching few moments for the two, as the sun is about to set, with Barley getting to hug and say goodbye to his father, something he never managed to do when his father was dying in hospital. Barley passes on the information to Ian, but it’s a bittersweet moment, for all three of them. But they do get a laugh out of the fact Wilden’s “wizard name” was Wilden the Whimsical. Ian and Barley’s love of magic made them feel close to him even though he is not with them.

Wilden doesn’t really have many lines in Onward, despite being a very present character. He does narrate the opening lines of the movie, which are paraphrased by Ian at the end of Onward, and there is the conversation that Ian listens to on tape, just to hear his dad’s voice. These few lines were spoken by Kyle Bornheimer. Bornheimer has had roles in movies such as Ted, a lawyer in Marriage Story (2017); Andrew, Lyla’s husband in The Big Wedding (2013); and Joe in Bachelorette (2012). On television, he was recently cast as Doug in the science-fiction comedy series Avenue 5 (2020-22), and appeared in the recurring role of Sergeant Teddy Wells in Brooklyn Nine-Nine (2013-21). 

Finally, it’s always worth spotting the John Ratzenberger cameo in Pixar movies. In Onward, he voiced Fennwick, a construction worker. Ratzenberger had voiced a character in every Pixar movie up until Onward, but would not return as a voice cameo for the studio again until the release of Inside Out 2 (2024).

PRODUCTION

Although Onward was not completed until 2020, the movie had been in development since 2013, when Dan Scanlon, fresh from his Pixar directorial debut on Monsters University (2013) teamed up with two others from that movie, Kelsey Mann and Kori Rae, to begin work on a new story.

Dan Scanlon had previously worked as a storyboard artist for Disney on the direct-to-video sequels, The Little Mermaid II: Return to the Sea (2000) and 101 Dalmatians II: Patch’s London Adventure (2003) before joining Pixar in 2001, working on features such as Cars (2006) and Toy Story 3 (2013) as a story artist prior to Monsters University. Kelsey Mann joined Pixar in 2009, working as a story supervisor on Monsters University before moving on to work on the story for The Good Dinosaur (2015), alongside his story work for Onward. He also directed Inside Out 2 (2024). Kori Rae was a producer on Monsters University, having worked as a producer on other Pixar movies previously, such as Monsters, Inc. (2001) and The Incredibles (2004).

Scanlon already had an idea of a personal story he wanted to tell and discussed it further with Rae and Mann. This idea was based on the fact Scanlon’s father had died when he was just one-year-old and his brother was three. Neither of them really reminded their father, however, when Scanlon was 16, he was given a cassette of his father speaking just two words, “hi” and “bye”. It wasn’t much information to be given about what his father was like, but Scanlon and his brother could sense that he was a bit shy and awkward, kind of like them. With this personal experience, Scanlon wanted to tell a story about needing to know your parent to know yourself, to figure out how you are like them or not. But instead of this movie being made in honour of his father, Scanlon felt it was more about honouring his older brother, because he had been there for him his whole life. Scanlon actually didn’t tell his brother about the movie he was developing, wanting it to be a sort of surprise[2].

From this initial point, the story team of three began to ask questions about this experience to pull out more pieces of information that could be used to make a complete story. They eventually came to the idea what if you had one more day with that person; what would you do, what would you say? And that is how the resurrection of Ian and Barley’s father came to be the primary focus of the story, with the return of their father making Ian question many aspects of himself, and how he might be more like his dad[3].

They had the main plot and point of the story, now they had to create the world Onward would be set within. Because of the fact they needed to be able to have Ian and Barley meet their father after his death, it was quickly known that magic would have to be an integral part of the movie, otherwise, how else would they be able to see him again? Pixar are used to making interesting locations for their movies, so Onward was no exception, but in this case, they delved into the world of fantasy story-telling for their setting.

Onward is set in the fantasy town of New Mushroomton, however, this movie isn’t like a Tolkien story, because it is actually a contemporary setting, just with magical elements. New Mushroomton feels like any normal town, with houses, a police department, restaurants, burger bars; it just so happens to be populated by fantasy characters. This modern setting was useful to keep non-fantasy fans on board as they can find similarities within the town in Onward and their own town. It was also a necessary aspect of the story because if everyone in the town still had and used magic, then Ian and Barley’s quest wouldn’t be difficult. Instead, they have to discover the old magical elements and locations of the area and find their own way to the phoenix gem. The Pixar team used a ratio of 70:30 familiar to fantasy in all aspects of their creative process to maintain this balance. As research for this new location, the filmmakers surveyed neighbourhoods around Los Angeles, such as Los Feliz and Frogtown, to look at the most interesting things around there – parking lots and power lines! New Mushroomton had to feel relatable and real[4].

The citizens of New Mushroomton take many forms, for example, Ian and Barley are elves, but many of the police officers, like Officer Bronco, their almost-stepfather, are centaurs. We also spend time with Corey the Manticore, a legendary creature that is a mixture of a lion and a scorpion with wings. The difficulty didn’t come in designing these characters; there are many depictions of fantasy creatures easily viewable. The challenge came in making them fit into this modern world. There were questions over how to design the centaurs. They have human top halves, but their bottom half resembles a horse – does that mean they can only wear a shirt and no pants, or should pants be put on them?  In the end, Officer Bronco did not wear pants, and has a belt to separate his two different body types. Another character design decision made for Officer Bronco was to give him a horsey laugh. Corey the Manticore is initially seen wearing a tight shirt and waistcoat, with her paws being squeezed into heels, and her hair neatly tied back. This outfit choice was made to show that she is being restricted in her mundane life working in the restaurant. When she learns to be wild again, her shirt is shredded, to leave her with a vest-like top, her heels are gone, and her hair is wild and messy to match her new personality. The Pixar team saw her as a big, buff lady, kind of like a retired wrestler that cannot be tamed, no matter how hard she tries! Then there are the sprites who are normally depicted as tiny, pretty fairies. In the case of Onward, these sprites have been turned into scary, tough bikers, complete with leathers, mohawks, and piercings. It wouldn’t have made sense in this contemporary world for the sprites to have been flying around, sprinkling fairy dust on people, and the sprites end up being the complete opposite to how we’d expect them to be!

To fully form the mystical quest that Ian and Barley would go on, Pixar looked to their own staff, specifically those that were fans of fantasy stories, movies, and games, a group they called “The Fellowship”. This group were responsible for creating the rules of magic in Onward. Magic in Onward is used to show personal growth for Ian. He has to work hard at the magic to become his best self, so the magic couldn’t just be point, say some words, and something happens; there had to be something specific Ian had to do to help him in his mastery of the craft. The group were tasked with coming up with names for the spells, and to figure out tasks that had to be done to get the spells to work successfully. “Heart’s Fire” was one of the first things Ian had to work on, and that means showing passion and conviction. Another key task was about trust, which features in the bridge scene, where Ian has to believe that the bridge will appear or it won’t. The filmmakers got to experience this scene for themselves via a VR session. All of them said it was a terrifying experience even through a screen. By the end of the movie, Ian has mastered enough spells and dug deep within himself that magic has started to come back to New Mushroomton, because no doubt their battle with that dragon has gone down in local history[5]!

This scene, named “Dragon High”, was a particularly complex scene to animate, as it was the big climatic moment of the movie, the final part of Ian and Barley’s dangerous quest, plus, it involved so many different animation departments. It became a regular occurrence to get all the departments together to constantly review this scene so that it was a collaborative experience. The assembling of the dragon was reworked as different sized chunks of cement were jammed together to make this beast, with the dragon mascot of the school being used as the dragon’s face to give a moment of humour in amongst all that fear and peril. The team used VR once again so that they could stand next to the dragon and feel the size and scale of it[6].

Although the ending of Onward had been decided at a fairly early stage of the movie’s development, and the story was always going to feel like a quest, some story elements did not make it to the final cut of the movie. Some of these story edits included having Ian be a lover of magic from a very young age, with Barley supporting him in his attempts to use spells by helping him train. It was later decided that it would create more tension if Ian was the one to have the gift for magic despite not being bothered by it and have Barley know all the facts about it. There was also a fan-favourite character within the studio, Guinevere, also known as Jenny, who was cut, with elements of her personality being put into the character of Barley. Jenny was a teenage satyr who worked at the Manticore’s Tavern. She was set to go on the quest with Ian and Barley, after saving them and the map from the fire at the tavern. Jenny had asked for a job at the tavern hoping the Manticore would help her be a real warrior, but it never happened, so meeting Ian and Barley was her chance to fulfil her dream. She also had a car, which Ian and Barley did not have at this point. Jenny’s car was called Guinevere and must’ve been the inspiration for Barley’s van[7].

Speaking of the van, a lawsuit was filed shortly before Onward was released to the public by an artist named Sweet Cecily Danihar. She sued Disney and Pixar, accusing them of creating an animated double of her own adorned van without permission. She had hired out her van, complete with a unicorn on the side of it, to Pixar for a one-day special event in September 2018. In May 2019, Daniher discovered that Pixar’s new movie had a van just like hers in it. She claims that the producer of Onward apologised to her a few days later, admitting that they had used her van as inspiration for the movie without her consent. Daniher was suing for copyright infringement. The lawsuit was later dismissed[8].

By December 2018, the basic plot of Onward was revealed along with the cast list. Its release date of 6th March 2020 was also confirmed. Further details of the movie were revealed at the 2019 D23 Expo in August 2019, with clips of the movie being shown to the audience and the cast of the movie speaking about their experience working on the film.

By 2020, Onward was finally ready to be revealed to the public. Scanlon was pleased with the result and felt that the movie-making process had been therapeutic, and not even just to him. During the process, others on the team were also telling their own stories of similar experiences which were added into the movie. The title of the movie Onward references the overall message about moving forward in a positive way. It also hints to the fact that life is always a journey and you have to keep going even when obstacles arise. It’s also a nod to the fact that Barley’s van is not set to “D” for “drive”, but “O” for “Onward”!

Despite the heavy subject matter of Onward, it wouldn’t be a Pixar movie without their usual Easter eggs. Their Pizza Planet truck can be seen at the time that the boys pay to go through a toll bridge, however, the name of the restaurant in Onward is actually Pizza Realm to match the tone of the movie. A113, referencing the classroom of CalArts where many of Pixar’s original artists studied animation, is used as a police code here. There are even references to the Marvel Cinematic Universe, with Barley’s jacket having a patch of the infinity gauntlet on it, and there is a sticker of Thanos’ gauntlet inside his van. Also, in the gas station that they go to, you’ll see Triple Dent gum, the gum with the catchy jingle from Inside Out (2015) on the shelves. Pixar also like to reference their upcoming movies in their films, so Soul (2020), the next Pixar movie to be released, can be seen in a small way, with a Dorothea Williams album sitting on a shelf in Ian and Barley’s home.

MUSIC

Since Onward is about two brothers, doesn’t it make so much sense to have two brothers write the score for the movie?

These two brothers are Jeff and Mychael Danna. They had previously worked for Pixar to compose the score of The Good Dinosaur (2015), and had composed the music for the animated The Addams Family (2019) and its 2021 sequel. Mychael Danna also won multiple awards, including the Academy Award for Best Original Score, for his music for Life of Pi (2012). The Danna Brothers were moved by Dan Scanlon’s story, having both lost their father too, but at an older age than Ian and Barley.

For the composition of the music, they liked the idea of writing “wizard rock”, where Tolkien’s fantastical world met the world of heavy metal. This was the perfect sort of music to be blasting out of Barley’s van, like the pieces “My Mighty Steed” and “Sacrifice”, where Guinevere is a key part of the scene[9]. It’s not exactly to my taste but it certainly suits Barley. They also found there were a lot of options for the music with it being a fantasy movie, as moments need to be vast and epic at times, like the culmination of a great quest or journey, “Battling the Dragon”, or small and quiet to match more emotional moments, such as “Share My Life With Him”, which is played as Ian realises he may not have got to share his life with his father, but Barley was the one always there for him. This is my favourite piece within the score. “Dad” is another quiet piece but it is tinged with sadness as you realise Ian never got to see his father like he wanted to.

Mychael Danna and Jeff Danna won the BMI Film & TV Award for Film Music for their score here, and were nominated at the Annie Awards and the Hollywood Music in Media Awards too, but they lost out to Soul’s soundtrack at both ceremonies.

There is also an original song within the soundtrack called “Carried Me with You”, which plays during the End Credits. It matches the tone of the movie, talking about someone lifting you up and guiding you through life. It was written by Brandi Carlile, and Phil and Time Hanseroth, and was performed by Brandi Carlile. “Carried Me with You” was nominated for Best Original Song at the Grammy Awards and the Hollywood Music in Media Awards, however, it lost to Billie Eilish and Finneas O’Connell’s “No Time to Die” from the Bond film of the same name at the Grammys, and lost to “Just Sing” from Trolls World Tour (2020) at the Hollywood Music in Media Awards.

RECEPTION

Onward was released to theatres on 6th March 2020.

As is typical for Pixar, they released Onward alongside a short film, this being Playdate with Destiny (2020) that was not a Pixar short. It is actually a short from The Simpsons (1989-present), and follows Maggie as she falls for another baby called Hudson. This short came to Disney+ in April 2020.

Pixar are used to receiving critical acclaim for their movies, however, they do not always succeed. Cars 2 (2011) and The Good Dinosaur (2015) are two Pixar movies that failed to reach the usual standard expected of the studio. In this case, Onward didn’t receive too many negative pieces of criticism, reaching a Certified Fresh 88% score on Rotten Tomatoes for example, higher than the other two films I’ve just mentioned, but it didn’t receive huge amounts of praise.

On the negative side, Onward was frequently compared to Inside Out (2015) as both Pixar movies focus on human emotion and feelings. Inside Out was a very highly rated film and it was incredibly creative and clever, so critics complained that Onward lacked the innovation and inventiveness of Inside Out. The pacing was also debated. Some felt it was quicker and more energetic than other Pixar movies, whereas others felt the episodic structure made the story less cohesive. I will agree that Onward felt episodic, in terms of the characters finding themselves with tasks to do as part of their overall quest, kind of like a board game. This didn’t bother me, I tend to like that kind of structure because it means that the focus of the story remains, and the boys were meant to be experiencing a real-life version of Barley’s Quests of Yore game, so it felt right to me. Others didn’t feel like Onward was as funny as they know Pixar movies can be. Again, I agree with this, and I like a good laugh, so it was a bit disappointing, but I did find it funnier than Soul (2020). Some also felt that the story was an after-thought to the big emotional ending of the film, feeling that the filmmakers had built the story around that final moment.

More positive reviews stated that it was a good movie for boys. Although Pixar, I feel, have made more films that appeal to boys, Disney struggle in that respect, for the most part, and with the last movie to come out of Disney before Onward being Frozen II, it was probably more appreciated. Others felt the voice casting of Tom Holland and Chris Pratt as Ian and Barley were the perfect choice, as their brotherly chemistry was easy and natural, with the two making Ian and Barley likeable characters. Onward also felt very poignant to viewers especially if they had lost a parent. It was generally felt that Onward was well-executed, as you’d expect from Pixar, although, even in the positive comments, some still didn’t think it was anything ground-breaking.

I will admit that I was sceptical of Onward after viewing the trailers. I didn’t have a clue what the story was going to be, which is actually quite normal for Pixar; they like to keep you in the dark, although it was clear that the movie was going to be set in the fantasy world, something which doesn’t really appeal to me. I wasn’t sure I was going to like Onward initially, but I really did. I think setting Onward in a contemporary version of a fantasy world helped to keep me interested, as it felt familiar at the same time as feeling different, and I’m all for watching tear-jerkers, although I did have more sad than happy tears with this one.

Another thing that was welcomed by some viewers was the brief moment of LGBT+ representation, which comes during the scene of Barley and Ian talking to two cops disguised as Officer Bronco. Officer Specter states that she is struggling to bond with her girlfriend’s children, trying to reassure “Bronco” that eventually he’ll feel more natural being a parent to Barley and Ian. It was actually the voice artist for Specter, Lena Waithe’s idea to use the word “girlfriend” in this scene. Although this nod to diversity and inclusivity is something that Disney and Pixar are featuring more of in their recent movies, this particular scene did lead to banning and censoring of Onward in certain countries. Onward was not shown in Kuwait, Oman, Qatar, and Saudi Arabia, however, other Middle Eastern countries, like Egypt, Lebanon, and Bahrain, did show the movie. Russia censored the scene, by changing the word “girlfriend” to “partner” and not referencing the character’s gender[10].

At the box-office, Onward debuted to $40 million, which was enough to top the box-office charts, but was not as much as Pixar would normally expect., however, the $40 million was still within the projections of between $40 and $45 million, even with the potential future of the pandemic weighing on everyone’s mind[11]. Box-office revenues dropped the week after, by 40%, but Onward was still at the top of the box office. It was debated how much the COVID-19 pandemic was affecting box-office results at the time and whether the decline was anything more than what would normally be expected after a movie’s opening week[12]. Movie theatres were closed just a couple of weeks or so later across many countries.

This is why Onward became available to buy digitally in the US much earlier than usual, on 20th March 2020. It followed that by coming to Disney+ on 3rd April in the US, although it would not be released in other countries on Disney+ until many months later. This was Disney’s way of dealing with the financial blow that the closure of movie theatres had on Onward’s takings. It is difficult to assess the success of a movie once it comes to streaming though, so it is unclear how popular Onward was when it first came to Disney+.

In the end, Onward made around $140 million worldwide before being removed from theatres, which is less than its reported $200 million budget. Onward may’ve been the first Pixar movie to be affected by COVID, but it was not the last. Soul struggled as well, as many cinemas continued to be closed during its theatrical release in December 2020. This is why Soul was given a Disney+ release on 25th December 2020[13]. Because Pixar knew what had happened to Onward, it meant they could have a back-up plan for Soul. With Onward, nobody could’ve guessed how impacted by the pandemic it would be.

Finally, another way of measuring a movie’s success is with its award success – although that should not be the only way because we all know how up-and-down awards season can be. I’m still struggling with the 2025 Oscars. I’ll get over it… one day. Anyway, Onward did not have huge success in terms of awards. It did win the Saturn Award for Best Animated Film, and it won the People’s Choice Award for The Family Movie of 2020, but that was mostly it. It was nominated at many major award ceremonies, but it lost to Soul at the BAFTA Film Awards; the Golden Globes; and the Oscars in the Best Animated Feature Film category. At the Annie Awards, which are all about animation, Onward was nominated in many categories, including for Best Animated Feature, Editorial, Character Animation, and Writing, but it lost to fellow Pixar movie Soul once again in all these categories.

LEGACY

Prior to Onward’s theatrical release, the Disney Parks began their celebration of the movie, by showing an exclusive preview of the film. This was at the Tomorrowland Theater at Disneyland and at Walt Disney Presents at Disney’s Hollywood Studios in Walt Disney World[14]. This is a normal part of their marketing.

Outside of that, Pixar also recreated Barley’s van, Guinevere, complete with bumper stickers, the unicorn mural, and the “Gwniver” license plate. This van went on a 10-city tour to promote the movie, where visitors could take photos next to the van, and get free merchandise such as posters and stickers. The van journeyed to places like San Diego, Phoenix, Dallas, New York City, and Miami during February and early March 2020. Pixar reportedly did something similar for Cars 3 (2017) where life-sized versions of Lightning McQueen, Cruz Ramirez, and Jackson Storm were taken around the US, and for Toy Story 4 (2019) with their RV tour, which also had carnival games[15].

Ian and Barley made their meet-and-greet debut at Disneyland the day before Onward was set to be released in theatres. On 5th March 2020, Ian and Barley were available to meet guests in front of their van as part of the Disneyland After Dark: Pixar Nite special event. They then moved to Pixar Pier in Disney California Adventure Park on 6th March 2020 to meet guests, however, they would not be there long as the Disney Parks closed for the COVID-19 pandemic on 15th March 2020. To make it worse for Ian and Barley, they were meant to be heading to Hong Kong Disneyland for their Pixar Water Play Street Party in Summer 2020, but due to the park’s ongoing closure, this parade was postponed[16]. Ian and Barley did eventually join the parade in 2021.

Ian and Barley then returned with Guinevere the van to Disneyland for Pixar Fest in 2024, running from 26th April to 4th August. They were available to meet guests throughout the day at the Fantasyland Theatre, however, despite characters from Soul (2020), Luca (2021), and Turning Red (2021) all having floats in the Better Together: A Pixar Pals Celebration parade, with these being three of Pixar’s most recent movie releases, Onward was left out. Onward was lucky to be featured briefly in the Pixar Fest nighttime fireworks show, Together Forever – A Pixar Nighttime Spectacular, after “The World Es Mi Familia” segment from Coco (2017), with the scene of Ian battling the stone dragon being projected onto Sleeping Beauty castle. Outside of this, the only other place where you could find references to Onward is at the Pixar Place Hotel in Disneyland, most likely in artwork.

Many fans currently are lamenting the lack of merchandise that features any of the Onward characters. At the time of the film’s release in 2020, you could purchase clothing, books, plush toys of Ian and Barley, an Onward MagicBand, and Funko POP figures[17]. They did later release a real Quests of Yore board game, but outside of this, there is very little merchandise for them still around, perhaps a couple of t-shirts and some pins. Sadly, this is a scenario that many fans of lesser-known or under-appreciated Disney and Pixar movies have experienced for years. Onward fans, now you get to join the club…

FINAL THOUGHTS

Onward will likely never recover from its reputation as an “uninspiring” Pixar movie, or from its link to COVID-19. It struggled at the box office and received lukewarm reviews. It will unfortunately never be one of Pixar’s best to most people.

Onward has plenty of emotional moments, with the heart of the story revolving around grief and loss. Onward felt very personal to me. Not because I lost a parent at a young age, but because someone close to me did. They were young, but not as young as Ian and Barley, and they didn’t have a sibling to help them through it, but still, some moments felt strangely close to home, such as the guilt and sadness at not having enough memories of that parent, as well as the difficulty in seeing that parent becoming a shell of themselves through illness. It’s something that never leaves you, and the grief can creep up on you at the strangest of times.

It’s unfair to sit through Onward picking up on Pixar’s “lack of innovation or originality” when your focus is meant to be on the subject of grief. Grief and loss are a part of life, and yes, Disney has made plenty of movies that involve the loss of a parent – to the point that, for some reason, people find it comical – but consider this: is it not a potentially necessary way of helping children in particular cope with a similar circumstance?

Maybe watching one movie might get them to talk about what they’re going through instead of bottling up their feelings and thinking they just have to get on with life like nothing even happened.


REFERENCES

[1] Credit: Pixar, ‘Introducing Onward Featurette I In Theaters March 6’, Pixar YouTube Channel, 6th February 2020.

[2] Credit: Jude Rogers, ‘How Pixar’s hit Onward was born from childhood bereavement’, TheGuardian.com, 27th February 2020.

[3] Credit: Zach Johnson, ‘Inside the Six-Year Journey to Make Disney and Pixar’s Onward’, D23.com, 14th January 2020.

[4] Credit: Jeanine Yamanaka, ‘A Behind the Scenes Look at Forging “Onward”: From the Fantastical to the Familiar’, AllEars.net, 12th February 2020.

[5] Credit: Pixar, “Heart’s Fire”, from Onward (2020) Blu-Ray (2020).

[6] Credit: Pixar, “Dragon High”, from Onward (2020) Blu-Ray (2020).

[7] Credit: Pixar, “Deleted Scenes”, from Onward (2020) Blu-Ray (2020).

[8] Credit: Ashley Cullins, ‘Artist Sues Disney, Pixar Over Unicorn-Adorned Van in ‘Onward’’, HollywoodReporter.com, 28th January 2020.

[9] Credit: Pixar, “Wizard Rock”, from Onward (2020) Blu-Ray (2020).

[10] Credit: BBC, ‘Pixar’s Onward ‘banned by four Middle East countries’ over gay reference’’, BBC.co.uk, 9th March 2020.

[11] Credit: Rebecca Rubin, ‘‘Onward’ Leads Box Office With Ho-Hum $40 Million’, Variety.com, 8th March 2020.

[12] Credit: Dave McNary, ‘Box Office: ‘Onward’ Leads as Coronavirus Stunts North American Sales’, Variety.com, 14th March 2020.

[13] Credit: Jack Walters, ‘Pixar’s 9 Biggest Box Office Bombs Explained’, ScreenRant.com, 17th September 2023.

[14] Credit: Drew Rasor, ‘You Can Catch A Sneak Peek at Disney/Pixar’s ‘Onward’ At Disney Parks Soon!’, AllEars.net, 24th January 2020.

[15] Credit: Julie & T.J., ‘Pixar’s ‘Onward’ Brings the Real-Life Van, Guinevere on Tour – Will It Come to a City Near You?’, PixarPost.com, 3rd February 2020.

[16] Credit: Laughing Place Disney Newsdesk, ‘“Onward” Meet and Greet Comes to Pixar Pier at Disney California Adventure’, LaughingPlace.com, 8th March 2020.

[17] Credit: Zach Perilstein, ‘‘Onward’ Merchandise is Now Available at Disney Parks’, BoardwalkTimes.net, 18th February 2020.

#23 Soul (2020)

  1. BACKGROUND
  2. PLOT
  3. CHARACTERS & CAST
  4. MUSIC
  5. PRODUCTION
  6. RECEPTION
  7. LEGACY
  8. FINAL THOUGHTS
  9. REFERENCES

BACKGROUND

In 2020, because of the COVID-19 pandemic, many movies that were supposed to have theatrical releases ended up debuting on streaming services.

Luckily, Disney had just started up their streaming app Disney+ in November 2019, starting in the US before spreading outwards to other countries. Their timing was impeccable, gaining subscribers as slowly, country-by-country, much of the world was thrust into lockdown by their respective governments.

There wasn’t much to do other than watch television, which helped keep adults and children alike occupied. Streaming content meant we could also avoid the news, which became more and more bleak as 2020 wore on.

It was a troubling time for most of us, and sadly, although Christmas was supposed to give many of us a ray of hope that normality might be returning for some of the world, that was not the case for everyone. But no worries, because a new Disney+ release was going to come out on Christmas Day to brighten everyone’s day, and thankfully, Soul was not released on Disney+ with an additional fee, as Mulan (2020) had been just a few months before. It would be available to anyone with a Disney+ subscription.

In the UK, although we had been promised a relatively normal Christmas Day, just a few days before the big day, the government told everyone that Christmas festivities should be smaller, telling large families they should not spend the day together, and that on 26th December, many areas were going to be thrown into strict lockdowns once again. I did get to spend Christmas Day in 2020 with my family, and we did watch Soul. However, with the news that we would be “locked down” again, Christmas Day was not much fun and sadly, Soul did nothing to boost our moods.

It’s not that we thought Pixar had made a complete dud with Soul, because they didn’t. Initially, we decided it was like a new version of Inside Out (2015), a hugely popular and very clever Pixar movie. Then, once the early scenes of The Great Before were over, we struggled to really understand the point of Soul. Perhaps we were all distracted and annoyed about how Christmas had been ruined, but for whatever reason, we just didn’t get it.

I went back and rewatched Soul a few months later to try and figure out if timing had simply made Soul less appealing. Although I enjoyed Soul a bit more that second time around, I still found myself not liking it all that much. The animation was great, as usual, but the message just seemed lacking for me, and confused at times. Like, what’s the difference between “a spark” and “a purpose”? We’re told in the movie they are two different things, but I couldn’t work out how. Don’t get me wrong; parts of the movie were touching and clever, like Inside Out, but overall, it just didn’t hit me like I thought it would.

PLOT

Soul begins at a middle-school band practice, which is being overseen by teacher Joe Gardner. Joe finds that one of his students, a trombonist, gets lost in the music during a solo. This causes the other students to laugh – because, you know, kids can be cruel – but Joe says getting lost in the music is a good thing, explaining how he came to love jazz after his father took him to a jazz club, falling in love with the piano at that point. Sadly, the students have no idea what he’s talking about and don’t feel the same way, or at least won’t admit it.

Joe is then told by the school principal that he is now being contracted to be the band teacher full time. Joe isn’t too enthused by this job offer. On a visit to see his mother, Libba, who is a seamstress and runs her own shop, she tells him he should be accepting that job because it is a permanent position, not like all these gigs he does. However, Joe then gets a call from a former student, Curley, who is the new drummer for accomplished saxophonist, Dorothea Williams. She needs a new pianist and Curley thinks Joe should audition. Joe races over to audition at a jazz club for Dorothea. Dorothea doesn’t seem overly impressed but tells Joe to get a good suit and to come back for the show that evening. Joe is so excited he calls everyone he knows to tell them the good news, getting so distracted that he runs into traffic, walks through construction sites – and then falls down a manhole…

Joe finds he has turned into a little blue thing and is on a travelator heading towards a great white light. Joe is confused and asks the other little blue things around him what’s going on. They tell him they are going to The Great Beyond. Joe can’t believe it; on the best day of his life, he’s only gone and died! Joe won’t let this happen and starts running away from the light, falling off the travelator, and falling down, down, down…

Joe falls into a strange blue land. He sees little ball-like things bouncing around and discovers that these are new souls, with a counsellor named Jerry settling them down as they get excited about this new arrival. Jerry tells Joe he is in The Great Before, specifically at The You Seminar, where new souls receive their personality traits. Jerry tells Joe he is not dead yet and believes she knows where he needs to be. At The You Seminar, Joe learns that once souls receive their complete personality, they are sent down a portal, heading to Earth to start their new life. Joe tries to head down this portal too, but ends up right back where he started. He is soon found by the other counsellors, all called Jerry, who believe he is a lost mentor. They take him to an auditorium where he watches an educational video about The You Seminar. The You Seminar involves mentors being assigned to new souls in order to find their spark, which will complete their “Earth Pass” and allow them to start their lives on Earth. Joe is believed to be an educational specialist by the counsellors and is assigned to a soul called 22. However, 22 is not like any of the other souls, as 22 has no desire to go to Earth, having been matched with multiple mentors – including Mother Theresa, who 22 made cry – and not yet finding a spark.

Joe believes he can change 22’s mind, and they head off to the Hall of You, featuring the best moments of the mentor’s life. 22 isn’t interested in this guy’s life, saying Joe should just accept defeat and go to The Great Beyond now like all the others did. Joe then tells 22 this isn’t his life and finds his own, with the Hall of You now filling with all of Joe’s accomplishments – only, there haven’t been too many of those… Joe says he wants to get back to Earth to live his life, which intrigues 22, who can’t believe someone as unremarkable as Joe would go to all this effort to get back to Earth. 22 says if they can find the spark to complete the Earth Pass, then 22 will give it to Joe and send him back to Earth. They set off to the Hall of Everything instead, hoping something there will interest 22. Joe tries all sorts of careers, like cookery and firefighting, but 22 is cynical about all of them. One of the Jerrys then arrives to tell Joe his time is up, but 22 asks for some more time. Jerry is surprised to find 22 engaged in the process and allows this. 22 then takes Joe to The Astral Plane, the space between the physical and spiritual, believing 22 knows someone who might be able to help Joe get back to his body.

In The Astral Plane, also known as The Zone, human souls can find themselves engrossed in a passion, for example, like when Joe is playing his music. However, this can also be a place where souls become trapped in obsession, becoming “lost souls”. A hippie soul, named Moonwind, along with other spiritual souls, try to rescue these lost souls and send them back to Earth with a renewed thirst for life. Moonwind has a body on Earth; he is a sign spinner in New York City. 22 asks Moonwind for his help with Joe, however, Moonwind has never connected an untethered soul before. Moonwind and his fellow souls begin a ritual to find Joe’s body, asking Joe to listen out for cues. They discover Joe is in hospital and in the rush to get back, Joe and 22 fall through this portal between worlds.

Joe wakes up in hospital, but he can still see himself. It turns out Joe has returned to Earth, but is embodying the hospital’s therapy cat! 22 is in fact inside Joe’s body. Joe tells them they just need to find Moonwind in the city and then they can get back to their rightful selves. The two bust out of the hospital, however, 22 quickly becomes overwhelmed by New York City and hides in a stairwell, believing Joe’s body is about to die. Joe quickly returns with a slice of pizza for 22, knowing that his body is probably just hungry. 22 eats the pizza and finds it’s actually pretty good. The two find Moonwind, who is excited to find he resolved everything for Joe. It soon becomes clear to him that it didn’t work properly and now they need to do a new ritual to get back. Moonwind believes the best time to do this would be at 6:30pm. As Joe needs to get to the Half Note Club at 7:30pm for his performance with Dorothea Williams, that should work well.

Joe says his body needs to be cleaned up before the performance, as he is still wearing the hospital gown, so he tries to get 22 in a cab. But who should walk out of that cab but Dorothea Williams, who looks stunned to see Joe in this state. Joe and 22 quickly get in the cab and go to Joe’s apartment, hoping she didn’t notice! At the apartment, Connie, the trombonist from band, arrives to tell Joe she wants to quit. 22 in Joe’s body is told to go and speak to her. 22 initially tries to make Connie quit, however, Connie doesn’t actually want to and plays a solo. 22 is moved by this music and tells Connie she shouldn’t quit. Connie heads home with a new motivation for music. Joe, still in cat form, tries to get his body ready, however, he messes up a hair cut and finds his old suit is a bit tight. They need to fix the hair at least, so it’s a trip to Joe’s barbers. Meanwhile, Terry from The Great Beyond has found that their count is wrong and heads to Earth to find Joe to correct it, knowing he escaped his fate and headed back to his body.

At the barbers, Dez, Joe’s barber, sees the disaster of Joe’s hair and tells him to sit. 22 as Joe speaks to Dez about his life, and learns that Dez never got to live out his dreams because of a family illness but that he is still happy. 22 also starts to discover the joy in the little things in life, like food and leaves blowing in the wind. However, as 22 goes to pick up Joe’s hat on the street, his trousers split open. Joe knows they’ll have to see his mother at her shop to fix it, and orders 22 to keep the Dorothea Williams gig a secret. It turns out Joe’s mother already knows about the gig and is not impressed. Libba is not amused because his father struggled as a musician, with her work needed to steady the family; she doesn’t want Joe to struggle like that. 22 as Joe tells Libba that it is his dream to be a jazz pianist and that things are finally starting to work out for him. Libba tailors Joe’s father’s old suit for him and tells Joe she has always been proud of him. Now Joe is ready for the club.

At the Half Note Club, 22 starts to have a change of heart, finding she actually likes living, but Joe wants his body back. 22 runs off into the subway, trying to avoid returning to The Great Before, however, both 22 and Joe are caught by Terry and returned there. In The Great Before, the Jerrys are stunned to find that 22 finally got her Earth Pass and tell Joe to go to the Earth Portal with 22 to see 22 head to Earth as other mentors would do. 22 begrudgingly hands the Earth Pass over to Joe as she promised and runs off. Joe learns from Jerry that a spark is not the same thing as a purpose, which makes Joe think about his own life briefly. Joe feels guilty but knows he has to get back and jumps in the portal.

Joe wakes up in the subway and runs to the Half Note Club. He is late and Dorothea has found a replacement pianist, however, Joe won’t accept that and bursts into her dressing room saying this is his purpose and he has to perform tonight. Dorothea says he can perform that night with them, but there’s no promises of further work with her if it doesn’t go well. Joe performs well with the quartet that night and is asked to join them. Joe then asks Dorothea what happens next and she simply says they do it all again tomorrow. This doesn’t excite Joe who finds he isn’t as happy as he expected to be, and heads home.

At home, Joe starts to play his piano whilst looking over the keepsakes from his day with 22, like a lollipop from the barber and a pizza crust. He plays music as he thinks about the good, smaller moments in life. Joe soon finds himself in The Zone and The Astral Plane. Moonwind finds Joe and tells him that 22 has become a lost soul. Joe and Moonwind go to find 22. When they do find 22, Joe runs after her and apologises for what happened, trying to return the Earth Pass to 22, however, 22 is consumed with negative thoughts, which say 22 will never be good enough. Joe loses the pass in the chaos, but manages to pass her a maple seed from their day together. This snaps 22 out of the self-loathing, and Joe tells 22 it was fear about living that meant 22 hadn’t found her spark before, and now 22 is ready to live. 22 is no longer a lost soul thanks to Joe and he returns the pass, jumping down with 22 through the portal, knowing he’ll be returned to The Great Beyond before 22 reaches Earth.

Back in The Great Beyond, Joe is satisfied with his fate, however, one of the Jerrys arrives and thanks Joe for inspiring 22 to live. Jerry thinks Joe deserves a second chance at life, so another Jerry distracts Terry to trick Terry into believing the count is correct, as Joe is returned to Earth. Back on Earth, Joe states he isn’t sure what he’s going to do with his life now, but he knows he’s going to enjoy every minute of it.

CHARACTERS & CAST

Joe Gardner is down-on-his-luck, finding that pursuing his dream of being a jazz musician has not worked out as expected. He has ended up working in a school, which is an honourable profession, but this isn’t enough for Joe, who just wants to perform. When he gets the chance to perform with Dorothea Williams, Joe thinks all his dreams have come true, only for disaster to strike, his death being yet another barrier to his aspirations. After his messy day with 22, Joe finally gets what he wanted – to perform with Dorothea Williams, although he had to destroy 22’s self-confidence to do that. Funnily enough, it wasn’t everything he’d dreamt. He worked so hard to get to this moment and it wasn’t even as good as he expected. Because of this, Joe realises that dreams aren’t the point of living and wants to make things right with 22 again. This realisation gives him a second chance at life as he is deemed worthy of getting his life over again – and this time, Joe doesn’t want to waste it.

Jamie Foxx was chosen to voice the character of Joe Gardner, Pixar’s first Black lead. In film, Foxx has been cast as Drew Bundini Brown in Ali (2001); as Curtis Taylor Jr. in Dreamgirls (2006); and as Dean “MF” Jones in Horrible Bosses (2011) and its 2014 sequel. Foxx won the Academy Award for Best Actor for his portrayal of Ray Charles in the film Ray (2004). He also voiced the character of Nico in Rio (2011) and Rio 2 (2014). After that, Foxx starred as Leon “Bats” Jefferson III in Baby Driver (2017) and as William Stacks in Annie (2014). He also reprised his role as Max Dillon / Electro from The Amazing Spider-Man 2 (2014) in Spider-Man: No Way Home (2021). Alongside his screen roles, Foxx has also released numerous musical albums and had a Netflix stand-up comedy special called Jamie Foxx: What Had Happened Was… in 2024.

22 is a cynical soul, who despite never having lived, has been through many different lives, through the eyes of various mentors. 22’s previous mentors include Abraham Lincoln, Gandhi, Marie Antoinette, and Muhammad Ali. She even has a wall of name tags from her various mentors as a shrine to her commitment to not living! It is a struggle to get 22 to engage with The You Seminar, something that the Jerrys are well aware of, but they continue to be patient with 22. However, when 22 gets to live life on Earth in Joe’s body, she finds that actually living isn’t all bad, and without the constraints and pressures of finding a purpose or fulfilling a chosen career path, 22 is able to experience life in its purest form, just enjoying the small moments in life that many of us forget to notice, like the taste of good food, the feel of the wind in your hair, or the beauty in the ordinary. When 22 finds that life is worth living, the opportunity is cruelly taken from her by Joe, and 22 becomes a “lost soul”, being consumed with self-hatred and the perception that not having a purpose means 22 is a failure. Joe comes to his senses and lets 22 to get back to Earth, where I hope 22 lived a great life – but we’ll never know, because we never find out in the film!

22 was voiced by Tina Fey. Fey is known for being a cast member and head writer on the popular sketch comedy show Saturday Night Live (1975-present) from 1997 to 2006. Fey went on to write and star as Liz Lemon in the sitcom 30 Rock (2006-13), for which she won numerous Emmy, SAG, and Writers Guild of America Awards, amongst others, before creating the Netflix show Unbreakable Kimmy Schmidt (2015-19). Fey also wrote the movie Mean Girls (2004) and its 2024 musical movie, appearing as Ms. Norbury in both. She has appeared in comedy movies including Baby Mama (2008) as Kate; in Date Night (2010) as Claire; and as Nadya in Muppets Most Wanted (2014). Fey has also been seen in the recurring role of Cinda Canning in Only Murders in the Building (2021-present).

On Earth, 22 and Joe come into contact with other humans, with one of the most important being Libba, Joe’s mother. Libba is thrilled to find that Joe is being given a permanent position as a music teacher, because she knows that Joe is spending too much time chasing a dream that may never come true. Libba wants Joe to be settled and secure in life. To some, it might seem like she is crushing his dreams, but she actually just wants him to avoid the difficulties that his father had, trying to live out that same dream. She means well, and the moment they share in her shop, when she tells Joe – although 22 is in his body – she is proud of him, no matter what he does, is quite moving. Libba was voiced by Phylicia Rashad. Recently, Rashad has been cast as Mary Anne Creed in Creed (2015) and its two subsequent sequels. In The Beekeeper (2024), Rashad appears as Eloise Parker. Rashad is best known for her roles as Clair Huxtable on The Cosby Show (1984-92) and as Ruth Lucas in Cosby (1996-2000).

In the barber shop, Joe and 22 come into contact with Joe’s barber, Dez, who Joe says he wouldn’t normally speak to much during his hair cuts. This seems to be the case with many men and their barbers, however, 22 as Joe decides to tell Dez everything that’s wrong with the world, whilst Dez says that he always wanted to be veterinarian but after his daughter became ill, he knew he’d have to find a different way of earning a living and that’s how he came upon barbering. Dez is glad that Joe – although actually 22 – has finally asked him about his life, as he was getting fed up with only talking to Joe about jazz, this being news to Joe… Also at the barbers is Paul, who likes to bring Joe down, telling him nothing is going to work out for him. Paul gets his just-desserts though, as Terry accidentally tries to send Paul to The Great Beyond, terrifying him, before realising he isn’t Joe and takes him back to Earth, with a brief apology.

Donnell Rawlings and Daveed Diggs were cast as Dez and Paul respectively. Rawlings was previously cast in the sketch comedy show Chapelle’s Show (2003-06) and as Damien ‘Day-Day’ Price in The Wire (2002-08). He also played the role of Mr. Earl in Season 1 of Winning Time: The Rise of the Lakers Dynasty (2022-23). Daveed Diggs is well-known for originating the roles of Lafayette and Thomas Jefferson within the musical Hamilton. Diggs won a Tony Award for Best Actor for his roles in 2016. Diggs can be seen in the 2016 recording of the musical which is currently available to watch on Disney+ since 2020. Diggs went on to appear as Mr. Browne in the movie Wonder (2017) and as Johan Johnson in the series Black-ish (2014-23). He has also voiced the character of Sebastian in the live-action remake The Little Mermaid (2023) for Disney, and voiced the character of Helen in the animated series Central Park (2020-22). Recently, Diggs starred as Andre Layton in the series Snowpiercer (2020-24).

Dorothea Williams and Curley are two others that Joe speaks to on Earth. Curley is Joe’s former student who is now a drummer within Dorothea Williams’ quartet. He is kind enough to put Joe up for the audition as the new jazz pianist in the quartet. Dorothea Williams, on the other hand, seems quite stern and hard-to-please. Even after she tells Joe to come back and perform that evening, or after that evening’s performance, she doesn’t have much to say to Joe, not even a “well done”. But I don’t know much about jazz music; maybe it’s not cool to do that! Curley was voiced by Ahmir “Questlove” Thompson. Questlove is known for being the drummer and frontman of the band The Roots, who are the in-house band for The Tonight Show Starring Jimmy Fallon (2014-present). Questlove also won the Academy Award for Best Documentary for directing Summer of Soul (2021).

Dorothea Williams was voiced by Angela Bassett. Bassett starred as Ramonda in Black Panther (2018) and its 2022 sequel. Bassett won a Golden Globe for this role in 2022. She also won a Golden Globe for Best Actress in a Motion Picture for her performance as Tina Turner in What’s Love Got to Do with It (1993). She was also cast as Lynne Jacobs in Olympus Has Fallen (2013) and London Has Fallen (2016), before appearing as Erika Sloane in Mission: Impossible – Fallout (2018). Bassett is due to reprise this role in Mission: Impossible – The Final Reckoning (2025). On television, Bassett has recently had roles in the horror anthology series American Horror Story (2011-present). For Disney Animation, Bassett voiced the role of Mildred in Meet the Robinsons (2007).

In The Great Beyond and The Great Before, there are non-human characters that 22 and Joe interact with. The first person Joe meets is Jerry, one of the counsellors at The You Seminar, but it turns out there are lots of counsellors, making sure all the souls and mentors are in the right place at the right time, and handily, they are all called Jerry. The Jerrys are very patient, which they have to be with the excitable nature of the new souls, and don’t seem to be bothered or concerned about anything, not even when they hear that the count for The Great Beyond is off – though it’s not in their remit, so why should they care?

As there are numerous Jerrys, there are various voice actors for these characters. One of these is Alice Braga, who was cast as Anna Montez in I Am Legend (2007); Frey Santiago in Elysium (2013); and Sol Soria in The Suicide Squad (2021). More recently, Braga also starred as Teresa Mendoza in the series Queen of the South (2016-21), and as Amanda Lucas in the AppleTV+ series Dark Matter (2024-present). Another voice is Wes Studi who appeared as Magua in The Last of the Mohicans (1992) and as Geronimo in Geronimo: An American Legend (1993). More recently, Studi was cast as Kaetenay in the series Penny Dreadful (2014-16). Studi also voiced Windlifter in Disney’s Planes: Fire & Rescue (2014). Fortune Feimster, known for her role as Colette in The Mindy Project (2012-17), and Zenobia Shroff, who recently was cast as Muneeba Khan in Ms. Marvel (2022) and the 2023 film The Marvels, also voice Jerrys. The final Jerry we hear is voiced by Richard Ayoade; a voice familiar to UK audiences. I was surprised and delighted to hear Ayoade in this movie. Ayoade is known for his role as Maurice Moss in the sitcom The IT Crowd (2006-13) and hosted The Crystal Maze (2017-20) and Travel Man (2015-present). Ayoade also wrote and directed the film Submarine (2010). He has voiced small roles in other animated movies, such as Early Man (2018) and The Lego Movie 2: The Second Part (2019).

Terry is the counter in The Great Beyond, who is clearly a stickler for the rules and must ensure the count is correct, even if it means going to Earth and chasing that soul down, returning it to The Great Beyond against their will. I think Terry’s power has gone unchecked for too long and needs to stop being such a jobsworth. Luckily for Joe, the Jerrys help with that, by averting Terry’s attention whilst they correct the count when they allow Joe to head back to Earth to live his life again. Terry was voiced by Rachel House. For Disney, House is known for providing the voice of Tala, Moana’s grandmother, in Moana (2016), as well as the voice of Mama Binturong in The Lion Guard (2019). House also provided the Māori-language dub for Mamá Coco in Pixar’s Coco (2017). Recently, House has been cast as Nienke Van Spee in The Portable Door (2023) and as Ruth in Next Goal Wins (2023), as well as appearing as Principal Stacy “Woodsy” Woods Heartbreak High (2022-present).

Another character they meet is Moonwind. He is both a soul and a person on Earth, consistently using his spiritual nature to get to in The Astral Plane. His job is a sign spinner so I guess he needs to do something to entertain himself during those long hours outside with no-one to talk to! Moonwind admirably also tries to help lost souls, those who have lost their way on Earth. Initially, Joe and 22 witness Moonwind help another hedge fund manager, who suddenly has an epiphany and decides to quit his job and go live his life. Moonwind was voiced by Graham Norton. Norton is well-known for his BAFTA Award-winning chat show The Graham Norton Show (2007-present) as well as being the BBC’s commentator for the Eurovision Song Contest. Norton is also a judge on RuPaul’s Drag Race UK (2019-present). I must say I was surprised to find Norton was the voice of this character in Soul, but it was a good surprise, because I love Graham Norton.

MUSIC

Given Joe’s desire to be a jazz musician, music is an integral part of Soul.

Jon Batiste was chosen to compose the jazz compositions within Soul. Batiste said he wanted his musical choices to feel “user-friendly”, so that anyone could be introduced to the music and find that they enjoy it. Joe Gardner was first introduced to jazz music by his father, likely jazz from the 1960s or 1970s, so this time frame was one that inspired Batiste with his compositions for the movie. Batiste’s hands were also filmed whilst he was playing the piano, to ensure that the animation of Joe was accurate and correct. Jon Batiste was the band leader and musical director on The Late Show with Stephen Colbert (2015-present) from 2015 to 2022. In the years after, Batiste has continued to record and release music and was cast in the movie Saturday Night (2024), portraying musician Billy Preston, as well as composed the score for it.

Outside of that, Trent Reznor and Atticus Ross were brought on to the project to compose the overall score for the movie. Pixar generally like to collaborate with the same composers, for example, Randy Newman and Michael Giacchino have composed music and scores for various Pixar movies, however, in this case, Reznor and Ross had not previously worked with Pixar. Reznor and Ross have composed the score for movies such as The Social Network (2010); The Girl with the Dragon Tattoo (2011); and Gone Girl (2014). They won the Primetime Emmy Award for Outstanding Music Composition for a Limited Series for their work on Watchmen (2019). They are also both members of the band Nine Inch Nails.

For the rest of the musical score, Reznor and Ross had to figure out how these greater worlds, The Great Beyond and The Great Before, might sound, seeing as these places are not physical and no-one would know what they sound like. In the case of The Great Beyond, this moment is quite a scary one for Joe as he has no idea where he is, just that he is on a moving platform heading towards a big ball of white light. But this couldn’t sound threatening to the audience. Instead, they chose to make the sounds ominous and strange. You’ll also notice that as the souls move into the light, there is no scream of terror or big bang; this sound actually sounds like a bug zapper. For the Great Before, the area feels light and airy, so the music chosen feels sweet and comforting[1].

This splitting out of the musical score is similar to the contrast between the very real place of New York City and the stranger worlds of The Great Before and The Great Beyond; Reznor and Ross focused on those outer worlds, whereas Batiste focused on music from the real world, although their work on Soul was highly collaborative, and necessarily so.

Outside of the score and additional music, there are other pieces of music within the soundtrack. One of these is the rap song “Rappin Ced”, which was written and performed by Daveed Diggs. This rap can be heard during the Hall of You scene, just after Joe tells 22 he is not the mentor, Bjorn Börgensson, and starts to show moments from his life. This song is part of a rap group Joe joined earlier in his life. Then there is the song “Parting Ways” written and performed by R&B and soul singer Cody ChesnuTT, which can be heard being sung by a busker in the subway. It’s a calming song, and I can see why 22 was drawn to it. 

The End Credits include further music, including the song “It’s All Right”, which was originally recorded by The Impressions and written by lead singer Curtis Mayfield in the 1960s. This is then followed by a selection of the movie’s score, before ending on another performance of “Rappin Ced”. The opening of the movie featured a school band rendition of Disney’s theme tune “When You Wish Upon a Star”, which is a bit clunky as you might expect from a middle-school band practice, but that’s the whole point!

Within the jazz sections of the soundtrack, I liked the tunes “Born to Play” and “22’s Getaway” the most. For the more traditional score, I liked all the music that plays in the opening scenes of The Great Beyond and The Great Before. But the soundtrack of Soul is so diverse that different tracks will suit different people. I’ve always found an interest in the underlying score within animated movies, finding they set up the emotional moments well, so in my case, this interested me more than the jazz, although I’m by no means saying the jazz portions weren’t great too.

To highlight how successful the soundtrack of Soul was, it won the award for Best Score at the Academy Awards, the BAFTAs, the Golden Globes, the Grammys, and the Annie Awards.  

PRODUCTION

The original concept for Soul first came about when Pete Docter, director of Pixar’s Inside Out (2015), found that, despite all of his success with the company, he didn’t feel like his life had been fulfilled. This got him thinking about whether success was worth spending your whole life trying to achieve, because does it even make people happy in the end? This question became the general idea behind Soul.

A very early draft had the soul who became 22 as the lead character. The whole movie would’ve been set in The Great Before and focused on the fact that 22 was a soul who didn’t want to go to Earth. This idea was quickly discarded as it was decided that they wouldn’t be able to prove that living was worth it unless 22 somehow ended up on Earth, so that is when the character of Joe was brought in.

First, Joe was meant to be a rock star, however, it felt to the Pixar team that being a rock star means wanting to become rich and famous, which goes against the message of the movie. So, instead, still in the realm of musicians, they decided upon Joe becoming a jazz musician, feeling that this was a more noble profession, and one that is about following a passion, not just finding a route to success. At this point, Kemp Powers was approached by Pixar to be the writer on this movie, sometime around Summer 2018. Powers later became the co-director of Soul, alongside Pete Docter[2].

Because jazz is linked to African-American culture, it was decided that the main character of Joe should be Black. Initially, in early reels, Powers found Joe to have very little depth to him, so being the same age as Joe and also from New York City – although from Brooklyn, not Queens, like Joe – Powers used some of his own life experiences to make the character of Joe feel more real.

To add authenticity and accuracy to Pixar’s portrayal of a central Black character, alongside Powers, they knew they needed to set up a cultural trust, as many Pixar and Disney movies do these days when delving into different cultures. In this trust, there were musicians such as Jon Batiste, Questlove, and Herbie Hancock, and historians such as cinematographer Bradford Young and former director of the Smithsonian Institution’s National Museum of African Art, Johnnetta Cole. With these people on board, as well as the input from Black Pixar employees, the team would be able to create a story that ensured accurate representing of Black culture. The design of Joe as a character required the input of this cultural trust, as was the case with some of Joe’s lines. A particularly important scene was also created by Powers who wanted Joe to pass through authentically Black spaces. This was the barbershop scene that Powers pitched, which sees men from all walks of life brought together to discuss life[3].

There were also other moments that were written that were either changed or did not make it into the film. One of these involved debate over how to end the film. Initially it was decided that Joe would end up at The Great Beyond, selflessly giving up his time on Earth to let 22 live. Some were happy with that ending, feeling that it would be cheating to have Joe be able to go back and start a new life; however, others were not happy with this decision, and Pete Docter was one of these. During production he had a change of heart, saying that Joe needed to get a second chance to go and enjoy his life now that he’d learnt the true meaning of it[4]. There was also a scene that would’ve communicate the rules of The Great Before a bit differently. Since this was meant to be a seminar, with a definite corporate spin to it, there was initially going to be a counsellor set up to be a motivational speaker, who would’ve explained to all the mentors about how the Earth Pass is filled, being told to “plant the seed of “wow”” in their new soul[5]. I thought this idea was quite good, actually.

In terms of animation, Soul had to showcase two contrasting areas; a real city on Earth and unknown spiritual worlds. Obviously, the movie starts in New York City with Joe, and we revisit this city often. It was recreated well, making it seem rich and vibrant, although not shying away from the wear and tear of the city, as well as its busyness. It was decided that Soul had to be set in New York City because it is the jazz capital of America and has a strong history of jazz, with many famous musicians known for their performances here[6].

Looking at the unknown worlds, The Great Beyond and The Great Before, the Pixar team talked to religious leaders to discuss how their religions view souls and afterlife. There is much discussion about what happens after death, but not much about what happens before birth. Using this information, The Great Beyond is animated as a big bright light, something that is talked about by the living, and that phrase heading “towards the light”[7].

The Great Before was free to be whatever the studio wanted it to be. However, discussions of soul normally lead to conversations about complex philosophy. Even the transition for Joe between The Great Beyond and The Great Before was a difficult “limbo-like” space to portray. It was boarded by story artist Trevor Jimenez who had an idea for this scene and was able to pitch it. This scene shows Joe falling off the moving platform into a dense black space, falling in between realms of colour and black space, becoming a simple line drawing. As he gets closer to the Great Before, Joe becomes the full coloured version of soul himself and falls onto soft blue grass from an opening in the “ceiling”.

The You Seminar ended up being an area for training that felt safe, bright, and soft. It is full of pavilions that are made to represent the personality trait that the pavilion houses, such as aloofness. Initially, because of the link to philosophy and The Great Before, Pixar looked to Ancient Greek architecture to give them inspiration for the buildings here, but, since they didn’t want to root this area to any specific culture, since everyone has a soul, they instead looked to the World Fairs that happened over the years. The architectural sculptures there were about grandeur and creating buildings to inspire people, which is what The You Seminar is supposed to do.

For the souls themselves, Pixar envisioned souls to be ethereal, non-physical balls of air. However, they couldn’t look like ghostly clouds of smoke, so they were made to be colourful, with blues and purples within their colouring. By adding facial features, it gave them expressions, and they act like excitable, little puppies, because they don’t know how to behave, being so “young”. The souls are kept in line by the counsellors, the Jerrys. They are just line drawings, but were initially conceived as wire models, to see how they would move in a 3D space. The Jerrys also needed facial features to give expressions and have their own ways of moving. Terry, for example, moves through New York City as a flat line at times, and one of the Jerrys morphs into a bus to transport souls across The Great Beyond[8].

Pixar also can’t have a movie without their usual Easter eggs either. Their usual Pizza Planet truck and the number A113, referring to the classroom number at CalArts that many animators studied at, can all be found in the Hall of Everything scene. There was also a poster on the NYC streets about PortoRosso, which was a nod to their upcoming movie Luca (2021). 22 also has a shrine of old mentor stickers on a wall, showing off how many mentors she failed. Although some are mentioned and seen in Soul, other names include Aretha Franklin, Martin Luther King, Jr., and Pixar animator and screenwriter, Joe Ranft, who passed away in 2005. Ranft was the voice of Heimlich in A Bug’s Life (1998) and his final work was as co-director on Cars (2006).

Soul took around four years to make, because the movie was initially pushed forward from a release date of Summer 2021 to Summer 2020[9]. On 19th June 2019, Soul was announced to be released on 19th June 2020, stating that the movie would look to answer some of life’s most important questions including “what is it that makes you…YOU?!”. It was planned for the movie’s release to coincide with Juneteenth, a federal holiday in the US on 19th June to commemorate the ending of slavery in the country[10].

In August 2019, at the D23 Expo, further details of the story were provided, along with artwork of the main characters of Joe and 22, as well as the Great Before, being shown to expo-goers. The voice cast was also announced at this point[11].

However, as excitement for the upcoming movie started to build, the world descended into chaos. On 15th March 2020, the US government began to implement their first lockdowns. The Pixar company suddenly went from just keeping an eye on the virus to suddenly getting everyone out of the building and sending them home to work on the movie there. The first few days were obviously difficult, getting everyone’s new work spaces set up. The usual problems of tricky Wi-Fi, Zoom problems, and pets or kids walking into offices during meetings were problems the Pixar staff had to manage as well. When Pixar left their office in March 2020, about 52% of the film was done. The movie was completed just six weeks later, right on schedule[12].

To really get home that these animators had done a lot of work at home, the credits state that Soul was created and produced at Pixar Animation Studios in Emeryville, California with this addition: “…and in homes at least six feet away from each other throughout the bay area”.

RECEPTION

Although Soul was initially scheduled to be released in theatres in Summer 2020, due to the COVID-19 pandemic it was decided that Soul would debut exclusively on Disney+, in areas that had it, on 25th December 2020. This would mean that the movie could reach up to 60 million subscribers, the number of subscribers the streaming service had within its first year of launch. Anywhere that did not have Disney+ at the time was still going to get the movie in cinemas, with some of these countries being Singapore, China, Thailand, and Malaysia[13].

In addition to this, Soul was screened as part of the 64th BFI London Film Festival in October 2020, and was also named as part of the official selection of the Cannes Film Festival, which also happened to take place in October 2020.  

Pixar movies typically are released alongside an animated short. In the case of Soul, this short was supposed to be Burrow (2020), which ended up debuting on Disney+ on the same day, so if you were aware of this connection, you could’ve streamed Burrow before Soul to give yourself the “authentic Pixar cinema experience”. Burrow sees a small rabbit trying to make its own burrow, however, a mole and a mouse start to elaborate on the initial plans. The rabbit then digs away from them, accidentally digging itself into other animals’ homes, before digging straight down. As the rabbit begins to dig a new burrow, it hits a water main, which starts to flood all the creatures’ homes. The rabbit goes to a badger, who initially seems scary, to explain what’s happened. The badger then alerts the other animals, who come to the rescue by digging a side tunnel to divert the flow of water. The rabbit then shows its original design for its burrow, which the animals help to build as described.

In the past, you didn’t even need to read the reviews about a Pixar movie before deciding to watch it; the studio has had a pretty good track record ever since their first animated feature-length film, Toy Story, released in 1995. They hadn’t been perfect, with Cars 2 (2011) being a particular low-point for the company, but generally, Pixar movies receive critical acclaim. 25 years later, with the release of Soul, did things change?

Well, in a way, yes. Soul received more mixed reviews than might have been expected. On the positive side, the movie was praised for its animation, particularly their authentic recreation of New York City, as well as the strange world of The Great Before. It was said to be a sweet, charming film, with a simple message at its heart to make the audience think about their lives, to decide whether they’ve really been living life to the full, or whether they have wasted their time chasing a dream. The music was also another high point, especially since jazz is not the usual musical style used in Pixar movies. Its animation of musicians playing was also seen to be very impressive. Pixar had already been successful with this type of animation in Coco (2017). The fact Soul was Pixar’s first feature film to have a Black leading character and a mostly Black cast did not go unnoticed, with this movie celebrating diversity and life.

However, there were some complaints about a Black character being the lead but actually being turned into a different physical being for most of the film. This was a gripe that many had about Tiana in Disney’s The Princess and the Frog (2009) since she is a frog for the majority of the film. For Soul, it’s not quite that bad, since Joe’s body does feature in at least half the movie, however, a different soul is inside Joe’s body, not his own. These concerns were initially raised when Pixar’s teaser trailer for Soul was first released, as some felt that having Joe become a blue soul for most of the film was problematic.

Another point that was raised was whether Soul has a “white saviour” narrative to it, since 22 manages to “fix” parts of Joe’s life for him whilst in his body. For example, 22 has a real conversation with Joe’s barber, Dez; something that Joe has failed to realise, spending his time talking to Dez about jazz. 22 also manages to convince Joe’s student not to give up music, and then has a meaningful talk with Joe’s mother about being able to pursue your dreams, which is, again, not something Joe felt he could say to his mother. This is an interesting point, and not something I’d considered when watching the movie.

However, all this being said, praise was given to writer and co-director Kemp Powers for his portrayal of Black culture in this movie, and, the fact that such a collection of Black consultants, musicians, actors, and writers had a major input in the story of Soul would suggest to me that these issues have perhaps only really been found through over-thinking of the movie’s story[14].

Some additional negative reviews stated that the story of Soul was confusing at times, and that it was potentially too deep for children to understand, since even some adults struggled to understand the message of the movie. In my case, I understand the overall theme of the movie: that you shouldn’t spend so much time chasing your dreams that you forget to truly experience and love life; that we need to “stop and smell the roses”. My problem with Soul was around the spark or purpose debate, which comes up multiple times throughout the film, but to me, was never clearly resolved. We are told that Joe’s purpose in life is to be a jazz musician, but that it is not a purpose that leads a soul to get their Earth Pass, but a spark. 22 manages to experience that spark for life as she goes through a day in Joe’s body. Ok, that’s all fine, and I understand that, but then what is the point of mentors and The You Seminar? Because to me, the Hall of You and the Hall of Everything seem to be trying to inspire souls to find a gift or a passion in their life, some sort of career path. Otherwise, why else would 22 be shown Joe playing the piano, or told to give science experiments and fire-fighting a go during their time together in The Great Beyond?

This is where I feel the movie let me down; not distinguishing between a spark and a purpose well enough. We all need a spark to want to live, but a purpose is also useful, because it gives us something to work towards. I don’t think it was helpful for Soul to tell people that working hard to hone a craft or talent is not what life is for, because, for some people, they need that drive to give them a reason to live.

But then again, maybe I’ve over-thought Soul, or the Pixar team really did want the movie to encourage this sort of debate. I also didn’t like how abruptly the movie ended. We don’t find out how Joe actually lives his “second chance” and we don’t know where 22 ends up. It might’ve been nice to see that, to fully wrap the movie up.

Anyway, regardless of personal thoughts on Soul, Soul did well in its first week on streaming. Soul got over 1.66 billion minutes of viewing time in the span of its first few days on Disney+, topping the Nielsen’s Streaming Top 10 List for the week of 21st December 2020. Soul successfully beat out Season 1 of Netflix’s Bridgerton (2020-present), which just so happened to also debut on Christmas Day 2020[15]

Soul went on to win the Academy Award for Best Animated Feature. It won this same award at the BAFTAs, the Golden Globes, and at the Annie Awards, where it also received awards in other categories, including Storyboarding, Writing, and Character Animation.

LEGACY

Soul never received a sequel movie; however, it did get a spin-off in the form of a short film, this being 22 vs. Earth, released on Disney+ on 30th April 2021.

22 vs. Earth is a prequel, set before 22 meets Joe Gardner in The Great Before. 22 is trying to tell other souls that going to Earth isn’t worth it. 22’s Earth Pass has still not been filled as 22 doesn’t have a reason to live. 22 devises a plan to stop all souls going to Earth, encouraging five other souls to join the mission. Without inspiration, souls can’t get their Earth Pass, so 22 and the other five start stealing things from the Hall of Everything, however, in enacting this plan, all five of the souls eventually become inspired and head to Earth, leaving 22 alone once again. The Jerrys wonder if 22 will ever go to Earth and discover the meaning of life, to which one of the Jerrys ask what that even is. The other Jerry starts to respond as the credits roll, so we never get to find out what it is, but apparently, it’s very simple! Tina Fey, Alice Braga, and Richard Ayoade reprised their roles here as 22 and two of the Jerrys.

Following on from this, there have been some references to Soul at the Disney Parks. For example, at Walt Disney World Resort in Epcot, an exhibit opened titled The Soul of Jazz: An American Adventure, which resided within The American Adventure Pavilion, specifically within The American Heritage Gallery. This exhibit provided guests with information about the roots of jazz music in America. This exhibit opened in February 2021, just two months after Soul’s debut, and closed permanently in January 2023. It was replaced with an exhibit celebrating American Indian art. Also, at Disney’s Hollywood Studios, one of the collection of 50 statues placed throughout Walt Disney World for their 50th anniversary in 2021 was of Joe Gardner playing the piano. These statues are still there today.

Following on from that, in 2024 for Pixar Fest, which ran from 26th April to 4th August at Disneyland Resort, Joe and 22 could be seen on a float during the Better Together: A Pixar Pals Celebration Parade. They also featured within the projection scenes of Together Forever – A Pixar Nighttime Spectacular. Pixar Fest also included food booths, with one of these being named The Spark, which was, of course, themed to Soul, which served the Half Note Jazz Cake, named after the jazz club seen in the film.

To add to that, Joe Gardner can be seen at the Pixar Place Hotel, playing the piano in the hotel lobby. Joe performs a few times a day, for around fifteen minutes in total, playing a variety of jazz tunes, as well as interacting with guests. This “character experience” was promoted as an activity during Pixar Fest, from April to August 2024, however, Joe seems to have been performing at the Pixar Place Hotel since its opening on 30th January 2024 until at least October. It is possible Joe Gardner still plays in the lobby outside of event dates, however, to avoid disappointment, it is best not to expect him to be there unless specifically stated. Joe is being listed as an entertainment offering for Disneyland’s Celebrate Soulfully event in February 2025 so he will definitely be back at Pixar Place Hotel then.

Also, just before Soul’s release in December 2020, merchandise was spotted throughout the Disney Parks, including plush toys, t-shirts, ornaments, pins, and a MagicBand. Soul-themed masks were also available, since this was during the pandemic and masks were required for most guests to experience the parks.

Finally, in 2024, Pixar decided to re-release three of their movies that debuted on Disney+ at movie theatres. These three movies were Luca (2021), Turning Red (2022), and Soul. Pixar felt that these movies had been made for the big screen, with audiences being cheated out of the theatrical experience by releasing them on Disney+. It was hoped that viewers would jump at the chance to see these movies again in this format[16]. Soul was the first of these three movies to be re-released in the US, on 12th January 2024, with Burrow, the short film, also being released alongside it as originally planned.

FINAL THOUGHTS

As the pandemic was a time that made everyone reflect on their lives, Soul was released at a very appropriate time, getting us to re-examine our lives and what is important to us.

The lockdowns that many of us experienced during 2020 and parts of 2021 limited our freedoms, to the point that we were not supposed to see family and friends, and some were limited to just one chance to get outside during the day.

Everyone responded to lockdowns differently, with some tearing their hair out and going stir-crazy at the feeling that they were trapped in their own homes. Others embraced the opportunity to start a new hobby and actually have some downtime for once.

It gave workers the chance to focus on their work-life balance, since so many were required to work from home. This is a message that can be applied to Soul. Soul tells us that if we spend too much time working, we don’t spend enough time living, so the pandemic gave those that did struggle with that the opportunity to re-adjust their attitudes towards work, probably for the better.

However, the pandemic was a few years ago now, and many work-life patterns have settled back to exactly how they used to be. Whilst some businesses encourage working from home either permanently, or one or two days a week, others banned the idea entirely. This shows that in terms of work, some learnt nothing from the pandemic. It then became the individual’s choice whether their avenue of work was really appropriate for them anymore, if their mindset had been changed.

I hope Soul had a positive impact on people, about appreciating the simple things in life, and I think when the pandemic did end, this was the case for many. But these types of messages rarely last long in the mind, as we are told in the media and online to continuously strive for riches, success, or fame, forgetting that often this means bypassing happiness.

I sadly don’t think the world is capable of changing for the better, with all the lessons we learnt in the pandemic being forgotten just as quickly as it all started. Success and happiness are supposed to go hand-in-hand, but rarely is that the case. To be truly happy requires a lot of internal examination and I don’t think the vast majority of us are willing to put in the work to do this. Soul’s message is a beautiful dream, but really, how many of us can honestly say that just being alive is enough?


REFERENCES

[1] Credit: Pixar, “Into the Zone: The Music and Sound of Soul”, Disney+ (2021).

[2] Credit: Josh Spiegel, ‘Soul began with the Great Beyond, then evolved in Pixar’s film about Black life’, Polygon.com, 8th December 2020.

[3] Credit: Sonaiya Kelley, ‘How Pete Docter and Kemp Powers brought the first Black Pixar protagonist to life in ‘Soul’’, LATimes.com, 19th November 2020.

[4] Credit: Jason Guerrasio, ‘The director of ‘Soul’ says that initially the movie had a completely different ending’, BusinessInsider.com, 29th December 2020.

[5] Credit: Kevin Polowy, ‘Meet the character from the Great Before cut from Pixar’s ‘Soul’ in exclusive deleted scene’, Yahoo.com, 18th March 2021.

[6] Credit: Ethan Anderton, ‘The Making Of Pixar’s ‘Soul’: From The Real World To The Great Before And Beyond’, SlashFilm.com, 9th October 2020.

[7] Credit: Terry Gross, ‘‘Soul’ Creators On Passion, Purpose And Realizing You’re ‘Enough’’, NPR.org, 23rd March 2021.

[8] Credit: Pixar, “Astral Taffy”, Disney+ (2021).

[9] Credit: Josh Spiegel, ‘Soul began with the Great Beyond, then evolved in Pixar’s film about Black life’, Polygon.com, 8th December 2020.

[10] Credit: Clémence Michallon, ‘Pixar announce new movie called Soul for summer 2020’, Independent.co.uk, 19th June 2019.

[11] Credit: Jonathon Dornbush, ‘Pixar’s Soul Voice Cast Announced – D23 Expo’, IGN.com, 24th August 2019.

[12] Credit: Pixar, “Soul, Improvised”, Disney+ (2021).

[13] Credit: Disney, ‘Disney & Pixar’s ‘Soul’ to make exclusive holiday debut on Disney+’, Disney.com, 8th October 2020.

[14] Credit: Zack Krajnyak, ‘Pixar’s Soul Made History (But Still Has One Big Racial Issue)’, ScreenRant.com, 31st December 2020.

[15] Credit: Mónica Marie Zorrilla, ‘TV Ratings: Pixar’s ‘Soul’ Tops Nielsen’s Streaming Top 10 Over Christmas’, Variety.com, 22nd January 2021.

[16] Credit: Disney, ‘Pixar’s Pete Docter on Why He’s Excited for ‘Soul’, ‘Luca’, and ‘Turning Red’ to Hit Theaters’, TheWaltDisneyCompany.com, 11th January 2024.