#14 Monsters University (2013)

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

BACKGROUND

Monsters, Inc. remains one of Pixar’s most creative and imaginative films. It will always be remembered as one of Pixar’s first movies as well, being a part of their animation legacy, back in a time when they were still proving themselves in animation.

The movie ended with Sulley finally reuniting with Boo, but we never got to see it. This led to some wondering whether Pixar would revisit Monsters, Inc. and allow the audience to see Boo, potentially all grown up and back in the monster world with Mike and Sulley. It’s worth pointing out that Pixar never seemed to be in the game of making sequels, at least not back in the 2000s. They’d only made one, Toy Story 2 (1999), before 2010, which is when Toy Story 3 came out. But we can forgive Pixar for those sequels.

Pixar was a studio that made original films, usually with a twist, but always with colourful and detailed animation. They made movies about fish trying to find home, about superheroes fighting evil, and rats wanting to cook. They didn’t seem to feel the need to go back and revisit any previous movie – until the 2010s. This decade has come to be known as “the sequel years” by some Pixar fans and animation historians, because in those ten years, Pixar made eight sequels or prequels to popular properties out of eleven films. These sequels can make a lot of money, using an audience’s love of an original film to immediately interest them in watching a new film with most of the same characters.

But in choosing to make sequels, Pixar inadvertently opened themselves up to a lot of criticism. Movie-goers don’t always like sequels, although some can be better than the original, so when they come across one that is particularly in bad, it taints the whole bunch. Pixar was recovering from one specific disappointment in the 2010s, Cars 2 (2011), panned by critics and viewers alike. It can be argued this is Pixar’s worst movie. So, just two years later, how would viewers take it when they chose to revisit Monsters, Inc. in 2013.

My family did watch Monsters University at the cinema, specifically whilst on holiday in Florida, one of only two or three times we did that. I personally prefer Monsters University to Monsters, Inc., probably because it feels more relatable and more rooted in real-life to me. I can understand the university setting and the emotional growth that Mike and Sulley go through during the events of Monsters University. I was at university at the time, so that probably helped me like it a lot too. But I am aware that some felt this film was an insult to Monsters, Inc. Others felt it was just ok.

PLOT

Monsters University begins during Mike Wazowski’s school days, as his class take a field trip to the renowned energy company, Monsters, Inc. After being embarrassed that he has be “buddies” with his teacher and that his roar was less impressive than his classmates, Young Mike finds himself in awe of the top scarers at Monsters, Inc. as the group watch the Scare Floor in action. One of these scarers, Frank McCay, talks to the class and tells them the best place to learn to be a scarer is Monsters University, or MU, despite a fellow scarer saying his alma mater, Fear Tech, is the best.

The class are told to stay behind a line on the floor whilst the Scare Floor is online, only being able to watch from a distance. However, Mike is so small that he cannot see as he gets pushed to the back of the crowd. His teacher is so pre-occupied with everyone else that it’s not until Mike has crossed the line already that she is alerted to him breaking the rules. The class watch as Mike follows Frank McCay into a child’s bedroom, so he can watch the scarer up close. As Frank leaves the room after a successful scare, he is surprised to find all of the students and their teacher looking concerned. He looks around to find Mike looking dazed but happy. Frank tells Mike what he did was dangerous, but he was impressed how quiet Mike was in there, not even realising he was anywhere near him. Frank gives Mike his MU baseball cap, and Mike’s dream of becoming a scarer takes flight.

After the title sequence, which shows Mike going through school and passing his scare exams to get into Monsters University, we see Mike getting off the bus at the entrance to the university, excited to get started. He gets registered and goes off on a campus tour, where they pass the Scaring School, the crown jewel of Monsters University, and where Mike will be studying since he got into the Scare Program. Mike later goes by all the society and club booths on the campus, hearing about the Scare Games. He then goes to his dorm and meets his roommate, who will be his lifelong best friend – or so Mike thinks. His roommate is actually Randall, but this isn’t the villainous Randall we know from Monsters, Inc. This is nerdy Randall, who just wants to fit in and do well at school. He even wears glasses, which Mike tells him to lose, so that when Randall goes invisible, nothing gives him away! The two are both on the Scare Program.

Randall and Mike go to their first Scaring Class together, taught by Professor Knight. The class is soon interrupted by Dean Hardscrabble, a legendary scarer who broke the all-time scare record at one point, with the canister from her record-breaking scare on display for all the students to see. The Scare Program is now “her” program because of it. She says there will be an exam at the end of the semester and anyone who fails will be kicked out of the Scare Program; she only wants the best here and if you don’t make the cut, then you’re out. Professor Knight is then left to give his first class. He asks about the properties of a good roar. Mike immediately puts up his hand and begins to answer, but he is interrupted by a loud roar from the back of the room. This is James P. Sullivan, also known as Jimmy – or Sulley to us – and he’s late to class, but he doesn’t care. Professor Knight hears the surname and asks if Jimmy’s father is the great scarer, Bill Sullivan; he is, making Sulley a celebrity on campus already. With people like him his competition to remain on the Scare Program, Mike vows to study hard to ensure he stays on the program.

That night, Randall tries to convince Mike to go to a fraternity and sorority party with him, but Mike wants to stay in and study, so Randall goes on alone. Suddenly, Mike hears a strange noise coming from his window and a random pig is pushed inside. Sulley follows the pig in through the window and is confused about seeing Mike there, thinking this is his own room; it’s not. Sulley says the pig is Fear Tech’s mascot that he just stole to impress the fraternities on campus, mostly Roar Omega Roar. The pig runs off with Mike’s MU cap and the two chase it all the way through the university, with Mike even riding it at one point. They end up at the party, and Mike throws a ball at a row of bikes, which fall over onto a bin, letting it roll in the path of the pig, so it is caught. Mike picks up the pig, and Sulley picks up Mike, to show off the mascot. Sulley is then wanted by all the fraternities and Mike is ignored. Johnny Worthington, president of the Roars, comes over to invite Sulley into their house. Mike tries to follow but he is told the party is only for Scare students. He says he is one so Sulley is told to talk to his “friend”. Sulley reiterates that they aren’t friends, but tells Mike the party is for Scare students who actually have a chance. The Roars point out the oddball fraternity of Oozma Kappa and suggests Mike joins them instead. Mike is now determined to be a better scarer than Sulley, to prove everyone wrong.

Over the next few weeks, Mike buckles down and aces all of his tests, whilst lazy and entitled Sulley doesn’t try and spends all his time partying. On the day of the final exam of the semester, Mike and Randall sit down to revise and wait their turn in the Scare Simulator, where they will be tested on their knowledge of scare theory as well as their performance of scares. Sulley is warned by the Roars that should he fail, since they’ve seen his failing test results, he won’t be allowed into their fraternity, and they watch and wait in the lecture theatre. Sulley decides to annoy Mike during his wait, telling Mike he doesn’t belong in the Scare Program and that is why he has to study so much, and the two start trying to outdo each other. They aren’t quiet about it though, and they are noticed by Dean Hardscrabble, Professor Knight, and the other students, especially when Sulley trips over and knocks into Hardscrabble’s scream canister. It sets off and the room goes silent. Dean Hardscrabble goes over to Mike and Sulley, saying accidents happen, and that she will test them on their Scare Program knowledge right now. Mike is given details of a child’s fears and asked what scare he should do. Mike gives the correct answer and is about to demonstrate it, when Hardscrabble cuts him off. She says she doesn’t need to see anymore because Mike is simply not a scary monster, and that is something that cannot be taught. Mike is out of the Scare Program. Now, it is Sulley’s turn. He just roars loudly at Hardscrabble before she finishes telling him about the child’s fears. She lets Sulley know that actually the child wasn’t scared of roars, so this would’ve made the child cry, not scream. This is also a fail and Sulley is kicked out of the Scare Program, and is also out of the Roars fraternity.

The next semester, both Sulley and Mike are stuck in boring Scream Can Design, with Mike sad and Sulley furious about how they’ve ended up here. In his room, Mike throws a book at the wall in anger, seeing a leaflet for the Scare Games behind him. That gives Mike an idea. He goes to the Scare Games kick-off party and asks to sign up his team, with fraternity Oozma Kappa. Dean Hardscrabble is surprised to find Mike fighting so hard to be in the games. Mike asks her to make a deal with him: if he wins the Scare Games, then she will let him back in the Scare Program. Hardscrabble agrees and even sweetens the deal, saying the whole team can enter the Scare Program if they win, but if they lose, Mike must leave Monsters University forever. The deal is agreed – but there’s just one problem; Mike’s team needs six people, and the two-headed monster there only counts as one. Mike desperately begs someone else to join the team, like Randall, but he passes Mike over to join the Roars, wanting to be popular instead. Only Sulley wants to join, to get back in the Scare Program, so, out of desperation, Mike allows Sulley on the team.

Mike and Sulley move into the Oozma Kappa house. They are introduced to their new “brothers”, who were all former Scare students, who didn’t make the cut. There is mature student Don Carlton; Art, a philosophical hippie-type character; the two-headed Terri and Terry; and Scott Squibbles, also known as Squishy. His mother owns the Oozma Kappa house. Mike and Sulley are taken to their room, which they will have to share. Sulley is concerned about this team’s lack of scariness but Mike says he can fix it. The lights go out, and Sulley and Mike head to the basement to see what’s going on. It is their initiation ceremony into the fraternity, although it is interrupted by Squishy’s mother doing laundry!

The next morning, Oozma Kappa get a letter about the first event of the Scare Games. That evening, they meet in the sewer, and are told their first event is called the Toxicity Challenge, where they will have to race through an obstacle course of sea urchins, that will cause swelling if touched. This is to match the toxicity of human children, of course. Cheered on by Squishy’s mother, Oozma Kappa nervously get ready for the race, but Sulley and Mike have chosen to treat this as a race against each other. They rush off without the rest of their team, laughing at the other as they each get stung by the sea urchins. They eventually cross the line after the Roars, but since the rest of their team has not made it across, it doesn’t count. Mike and Sulley see other teams finish, and then Oozma Kappa roll over the line – in last place. That appears to be the end of their Scare Games and Mike’s time at Monsters University, but they are handed a lifeline. Jaws Theta Chi is disqualified for using a protective gel that meant they could not be stung. Oozma Kappa are back in.

Not wanting a repeat of that incident in further events, Mike starts preparing Oozma Kappa with workouts and tests. Sulley chooses not to join in as he doesn’t feel he needs the practice in scaring. For the next event, Mike tells the rest of the team to follow him precisely. The challenge takes place in the library, where teams must retrieve a flag hanging up without being thrown out of the room by the scary squid-like librarian. Sulley gets fed up with Mike’s slow and steady approach, seeing only they and one other team haven’t got their flag. Sulley rushes ahead and slams to the floor after falling off a ladder. The librarian goes over to Sulley to throw him out, but Oozma Kappa make loud distractions and dodge the librarian’s attempts to throw them out the library. They gather up Mike and run out of the room. On exiting, Mike says they never got the flag – only to see Squishy got it during all the chaos.

With their surprise advancement to the next event, they are invited to a party for all the remaining teams at the Roars’ house. Sulley isn’t sure about it, but eventually gets in the spirit once they are there. Mike sees the Hall of Scarers and the Scare Games trophy in the house, and this makes him want to win even more. However, as Johnny Worthington proceeds to give a speech about Oozma Kappa’s surprise success, Mike and the others start to think something is wrong. Sure enough, they are pranked, covered in paint, glitter, and toys and teddy bears. A picture is taken, which the Roars use the next day for a charity fundraiser, selling t-shirts, and the picture is plastered all over campus. They are now being called Cute-ma Kappa because they aren’t scary. The Roars tell them they might as well quit now because they’ll never win. Dejected, they all seem to agree – except for Mike.

Mike decides to take them all on a field trip to Monsters, Inc. They sneak onto the roof and watch the scarers in action on the Scare Floor. Mike shows them that there is not one type of scarer, and that scarers come in all shapes and sizes. This encourages them to continue on with the Scare Games together, but vow to work as a team from now on – even Sulley. After a quick getaway from Monsters, Inc. security due to their trespassing, they start training together. At the next event, a maze where they must avoid scaring paintings of teenagers, Oozma Kappa manage to advance, with the sorority the Pnks being eliminated. The next event is a hide-and-seek style game, which Oozma Kappa also do well in, leaving the final two teams being them and the Roars. Their final event, the Scare Simulator, will be held the following night. Dean Hardscrabble witnesses this and Sulley goes to speak to her, to tell her she was wrong. Hardscrabble says she isn’t concerned because she knows for a fact one of their team is not scary enough to win, with that person being Mike. Sulley is aware of this and tries to help Mike be scary that night, telling him to dig deep and let the anger out. He tells Mike he’s done well, but actually, Sulley isn’t sure it’s enough.

At the final event, each member of each team must scare a robotic child in the Scare Simulator, using the scare reports to work out the most effective scare to do. Mike has prepared everyone for this and knows they are ready. He says he should be the first in the simulator, but Sulley thinks Mike should go last, because of all his hard work with the team. Their order is agreed, with Mike going last, and Don going first. Don does well in his simulator and Oozma Kappa take the lead as the Roars scarer trips over toys on the simulator floor. Next up is Terri and Terry, then Squishy, then Art. Their lead over the Roars diminishes each time. It is up to Sulley to bring back the lead. He goes up against Randall. Using what Mike taught him about other scares, not just roaring, Sulley manages to get an impressive scare, so much so that Randall’s own scare is sabotaged by both simulators shaking. Randall says that will be the last time he loses to Sulley, and a rivalry begins.

Finally, it is Mike’s turn to go against Johnny Worthington and they’ll need Mike to pull off a record-breaking scare to win. Mike prepares to scare the robotic kid, hearing all the mean things everyone said about him not being scary, and leaps up to deliver the record-breaking scare Oozma Kappa need to win. The crowd, the Roars, and Oozma Kappa are stunned at their win. After the event, Mike stands by the simulator and speaks to Sulley, not believing what just happened. As they are about to leave to celebrate, Mike says “boo” to the simulator and the kid screams, and a full scare is recorded. Mike investigates the controls and sees that his settings were lower than everyone else’s. He asks Sulley if he did this and he admits he did, because he didn’t want the team to suffer because Mike isn’t scary. Hurt, Mike walks off alone. The rest of Oozma Kappa overhear this, and know their win was not truly earnt. Sulley is invited back to the Roars, but he hands them the trophy and goes after Dean Hardscrabble. He admits his cheating. She expels Sulley and says he must be such a disappointment to his family. An alarm then goes off, because someone has broken into the door lab. Sulley rushes over, thinking Mike has done something stupid.

Mike has done just that. In a bid to prove how scary he is, Mike has entered a door that was being tested and finds himself at a girls’ summer camp. He tries to scare the campers but they aren’t scare at all, and he runs into the woods, sad and upset. Sulley gets to the door lab and asks Oozma Kappa to create a distraction so he can get in the door. They do that and Sulley goes in. The camp is empty, but rangers are around trying to search for the animal or intruder in the cabin. Sulley runs into the woods to avoid them and finds Mike by the lake. The two have a heart-to-heart, as Mike laments the fact his dream of being a scarer can never come true, and Sulley saying he’s a big failure. Still being hunted down, Mike and Sulley plan a way back to Monsters University. Mike decides they’ll have to create enough scare energy in the human world to power the door from the other side to let them back into the monster world. Sulley doesn’t think he can do it, but Mike says together they can. Back at the cabin, Mike starts to set the atmosphere for the scare, making strange things happen, and keeping hidden. The rangers come in and start to feel scared. Suddenly, Sulley appears in front of them and lets out a powerful roar. The roar terrifies the rangers and the scream energy starts to power the door, causing chaos over at the university. Mike and Sulley burst through the door and land back in the door lab just as the door explodes. Dean Hardscrabble is shocked to have witnessed all this. Mike and Sulley are taken away by the authorities, the Child Detection Agency and its No. 1 Roz.

The next day, Mike and Sulley apologise to Oozma Kappa and say their goodbyes; the two have been expelled from Monsters University. The Oozmas actually let them know that Dean Hardscrabble has let them all into the Scare Program, despite the cheating. We also learn that Don is engaged to Squishy’s mother Sheri, which makes Squishy understandably uncomfortable! Sulley and Mike then leave campus to wait for Mike’s bus. Mike gets on the bus to head home, but Sulley stops the bus and tells Mike that he is the one who actually achieved something at university, helping Oozma Kappa at the Scare Games, for example. He tells Mike he isn’t scary, but he is fearless. Dean Hardscrabble comes over to them and tells them to keep surprising people, like they did with her, and thanks them, in a way, for showing her that there is not one approach to teaching scarers. But that there is nothing more they can be taught here, and wishes them luck for their future. Mike then remembers that Monsters, Inc. are always hiring in the mailroom so they can join a scare company after all!

Just before the End Credits, we see Mike and Sulley’s journey through Monsters, Inc., working with The Abominable Snowman in the mailroom, before moving up to janitors, cafeteria workers, and then finally getting a chance to audition as a scarer and assistant duo, which is obviously where we see them during Monsters, Inc. Finally, in a mid-credits scene, we see the slug-like monster who is about to be late for class early on in the film finally arrive at his class, only to find it is the end of the year!

CHARACTERS & CAST

Mike, Sulley, and Randall are the three main characters to make a return from Monsters, Inc. in Monsters University. This time, instead of this being Sulley’s story, Monsters University focuses on Mike and his dream of being a scarer that cannot be fulfilled. Mike is determined to prove he can be a scarer, being dedicated to his studies and the theory of scaring, but learns that he cannot actually scare people, ending his dream at Monsters University. It’s a hard lesson for Mike to learn, that hard work doesn’t necessarily mean that everything will work out, but it’s a necessary and realistic lesson. But in his failure, another path opens up for Mike and things do work out. Sulley is not the same monster we meet in Monsters, Inc., coming across as quite arrogant and entitled, perhaps because of his family’s history in scaring. It is only with Mike’s help that Sulley becomes a real scarer, and the two’s initial rivalry turns into friendship due to this. Randall, on the other hand, begins his time at Monsters University as Mike’s roommate, seeming to be quite friendly and nice. However, he passes over the chance at friendship with Mike for popularity in the Roars fraternity, and his rivalry with Sulley begins after Sulley surpasses him in the Scare Simulator. Billy Crystal, John Goodman, and Steve Buscemi reprised their roles as Mike, Sulley, and Randall here.

Then we have the members of Oozma Kappa. One is Scott, mostly known as Squishy. Squishy is quiet and unassuming. He’s basically a little pink blob, which makes him easy to forget and easy to pick on! In the end, he uses his quietness to be a better scarer, thanks to Mike. Peter Sohn voices Squishy. Sohn is a Pixar animator and voice actor, having directed and written the short film Partly Cloudy (2009) and voiced Emile in Ratatouille (2007) prior to Monsters University. Sohn had also worked as a story artist on Finding Nemo (2003), The Incredibles (2004), and Up (2009). He later directed The Good Dinosaur (2015) and Elemental (2023), and voiced Sox in Lightyear (2022) and Ciccio in Luca (2021).

Don Carlton is a mature student, who seemed to work in sales before returning to his studies at Monsters University. Don has tentacles, which Mike teaches him to use in his scaring. Don Carlton was voiced by Joel Murray. Murray had previously been cast in the CBS sitcom Love & War (1992-95) as Ray Litvak and later the ABC sitcom Dharma & Greg (1997-2002) as Pete Cavanaugh. More recently, Murray was cast in the recurring role of Freddy Rumsen in Mad Men (2007-15) and as Eddie Earl in Starz’ Heels (2021-23).

Terri and Terry are a two-headed monster, who seem to disagree on pretty much everything. Terri, for example, is a dance major, but Terry is not; that must be quite tricky to achieve when one half of your body won’t cooperate! Terri and Terry were voiced by Sean Hayes and Dave Foley respectively. Hayes is most known for his role as Jack McFarland in the long-running Will & Grace (1998-2006, 2017-20). He also has voiced other characters for animated movies, including Steven the devil emoji in The Emoji Movie (2017). More recently, Hayes has been cast in more dramatic movies, including Stu in Am I OK? (2022), which starred Dakota Johnson, and Gary Greenbacks, the TV host in The Running Man (2025). He also won a Tony Award for Best Actor in a Play for his starring role as Oscar Levant in Good Night, Oscar on Broadway in 2023. Dave Foley voiced Flik in Pixar’s A Bug’s Life (1998) and also played Mr Jonathan Boy/All-American Boy, the Hero Support teacher, in the Disney movie Sky High (2005). In television, Foley appeared in the recurring role of Dr. Fulton in The Middle (2009-18), and was cast as Pat Hein in the Ken Jeong-created sitcom Dr. Ken (2015-17). Foley was also cast as Danish Graves in Season 5 of the series Fargo (2014-24).

Then, there is Art, a chilled out, laidback monster, who majors in philosophy. He is like an upside-down “U” shaped purple furry monster, who uses his flexibility to scare. We also learn Art has been to jail before, when Oozma Kappa are dodging the Monsters, Inc. security – but we don’t know why! Charlie Day voiced Art. He is best known for playing Charlie Kelly in the comedy series It’s Always Sunny in Philadelphia (2005-present), and later co-created the AppleTV+ series Mythic Quest (2020-25). Outside of that, Day also played Dale Arbus in Horrible Bosses (2011) and its 2014 sequel, and was cast as Dr. Newton Geiszler in Pacific Rim (2013), returning to the role in Pacific Rim Uprising (2018). He also voiced characters for other animated movies including Benny in The Lego Movie 2: The Second Part (2019) and Luigi in The Super Mario Bros. Movie (2023).

There are also the two main teachers at the Scaring School. One is Professor Knight, who is a strict professor, letting Sulley know that just because he can roar loudly, that isn’t going to be enough to pass the Scare Program. He also seems impressed by Mike’s knowledge of scare theory, with Mike being the best in the class. We don’t hear anything negative about Mike from Professor Knight, despite the fact surely he doesn’t think Mike is scary either and clearly doesn’t have a future as a scarer. Professor Knight was voiced by Alfred Molina. Molina has starred in numerous stage and screen productions. Some of these include performing as Tevye in the musical Fiddler on the Roof on Broadway from 2004 to 2005; Comte de Reynaud in the Academy Award-nominated film Chocolat (2000); Jack Mellor in another Academy Award-nominated film An Education (2008); and as Doctor Octopus in Spider-Man 2 (2004) and Spider-Man: No Way Home (2021). For Disney, Molina voiced the roles of Double Dan and King Agnarr in Ralph Breaks the Internet (2018) and Frozen II (2019), and played the role of Maxim Horvath in The Sorcerer’s Apprentice (2010).

Dean Hardscrabble is the intimidating and terrifying dean of Monsters University. All the scare students are obviously scared of her, and it would seem that Professor Knight would rather she hadn’t burst into his first class of the year! Hardscrabble warns the students on that first day that they will be thrown out by the end of the first semester if they don’t do well enough; it’s as simple as that, which isn’t exactly motivating on your first day at college! She continuously tells Mike that he is not scary, and will never be scary, so doesn’t deserve to be in the Scare Program. By the end of the movie though, after witnessing Mike and Sulley’s amazing scare in the door lab, she realises that she misunderstood Mike’s potential and skill, and tells both of them to keep surprising people, wanting them to do well in the future. I do wonder what the entry requirements to the Scare Program are, because surely they had to have some sort of practical assessment before they got into the university, so this would’ve filtered out students like Mike, who might know their theory but can’t execute scaring adequately. This is something Dean Hardscrabble really ought to think about!

Randomly, Dame Helen Mirren was cast as Dean Hardscrabble. Mirren’s career spans all kinds of different genres, so perhaps her casting here shouldn’t be such a surprise. It was a real win for Pixar to get her though. Some of Mirren’s film credits include being cast as Queen Charlotte in The Madness of King George (1994), in which Nigel Hawthorne played the title character; Chris Harper in Calendar Girls (2003); and Madame Mallory in The Hundred-Foot Journey (2014). More recently, she played Betty McLeish/Lili Shroeder in The Good Liar (2019), alongside Ian McKellen. She also played Elizabeth Best in The Thursday Murder Club (2025) for Netflix. Mirren won the Academy Award and BAFTA for Best Actress, amongst many other award wins in her career, for portraying Queen Elizabeth II in The Queen (2006). In series, Mirren starred as Detective Chief Inspector Jane Tennison in Prime Suspect (1991-2006). Monsters University was not Mirren’s first time voicing a character for an animated film; she voiced Queen Tuya in The Prince of Egypt (1998) for DreamWorks.

There are other students that Mike and Sulley encounter on their journey through the Scare Games. Two of these come from the fraternity Roar Omega Roar. The first is president of the fraternity Johnny Worthington. He only wants the best scarers in his fraternity. That is a fact of most fraternities and sororities; it’s not always about being the nicest person, it’s more about how you complement the other members and what you can do for them. Johnny loves the idea of having Sulley in the Roars, probably because he is the son of a top scarer, and therefore has the potential to be great. However, Johnny isn’t afraid to drop Sulley when he flunks out of the Scare Program and replaces him with Randall, whose ability to go invisible and disguise himself separates him from other scarers. Johnny is mean to anyone who he sees as lesser than him, even going so far as to prank Oozma Kappa just to make himself feel like the “big man” on campus. Johnny was voiced by Nathan Fillion, well-known for his leading role as Richard Castle in ABC’s Castle (2009-16). He also had a recurring role as Adam Mayfair in Season 4 of Desperate Housewives (2004-12) before that. More recently in series, Fillion stars as John Nolan in ABC’s The Rookie (2018-present) and was cast as Alton West in Netflix’s The Recruit (2022-25). In movies, Fillion voiced Sterling in Pixar’s Cars 3 (2017), played Master Karja in Guardians of the Galaxy Vol. 3 (2023) and Guy Gardner / Green Lantern in Superman (2025).

Every jerk like Johnny Worthington needs a sidekick. In this case, Johnny’s sidekick is Chet, who is a bit of a bumbling fool. He sometimes thinks he’s engaging in smack talk, but actually just makes the Roars look stupid, like when Johnny tells Oozma Kappa that if they lose, no-one will ever remember then. Mike shoots back and says that might be true, but if the Roars lose, then no-one will let them forget it. Instead of coming back with something clever, Chet just agrees that’s true. I think Johnny might want to look at getting a new sidekick! Chet was voiced by Bobby Moynihan, who was both a writer and cast member on Saturday Night Live (1975-present) from 2008 to 2017. He has also voiced characters for animation, including Mel in The Secret Life of Pets (2016) and its 2019 sequel, and Louie Duck in DuckTales (2017-21). For Pixar, he voiced Bobby in Inside Out (2015) and Inside Out 2 (2024) and is set to voice a character in Pixar’s new movie Hoppers, coming in 2026.

Finally, we have Claire and Brock, the two who run the Scare Games. Claire’s lack of enthusiasm and general surliness – she is a teenager, after all – is countered by Brock’s exuberance and general noisiness. Brock is excited by anything and everything, especially when commentating on the Scare Games events. Claire just doesn’t seem to care – at least not until Oozma Kappa seemingly win the Scare Games. Then, all of a sudden, it’s like she’s their biggest fan! Claire was voiced by Aubrey Plaza. Plaza is known for her role as April Ludgate in the mockumentary Parks and Recreation (2009-15), as well as her roles in comedy movies, such as Julie Powers in Scott Pilgrim vs. the World (2010); Lenore in Dirty Grandpa (2016); and Sarah in Operation Fortune: Ruse de Guerre (2023). Tyler Labine voiced Brock. Labine recently was cast as Dr. Iggy Frome in the medical drama New Amsterdam (2018-23) and starred as Kevin Pacalioglu in Deadbeat (2014-16) for Hulu.

There are a few other names to mention as well. Bob Peterson and John Ratzenberger make their returns as Roz and The Abominable Snowman, respectively, but only in brief cameos. Roz makes her appearance after Mike and Sulley return from the normal world, saying she’ll be watching them, which is something she said in Monsters, Inc. The Abominable Snowman is seen working in the Monsters, Inc. mailroom, warning Mike and Sulley that tampering with the mail is a crime punishable by banishment. I guess we’ve figured out he got banished to the human world then! We also have Bonnie Hunt making a return to the monster world. This time, she voices Mike’s school teacher Karen Graves.

Other names in this movie include John Krasinki who voiced the scarer Frank McCay in the opening sequence of Monsters University. Krasinski became a household name from his role as Jim Halpert in the US version of The Office (2005-13). He went on to have roles in comedy films, including Ben Murphy in License to Wed (2007) and Harley in It’s Complicated (2009). He later co-wrote, directed and starred as Lee Abbott in the horror films A Quiet Place (2018) and A Quiet Place II (2020). He also starred as Jack Ryan in the Amazon Prime Video series Jack Ryan (2018-23). Julie Sweeney voiced Squishy’s mother, Sheri. Sweeney was a cast member on Saturday Night Live from 1990 to 1994. More recently, she was cast as Vera Easton in Hulu’s comedy series Shrill (2019-21). Bill Hader voiced the slug monster running late to class. Hader was a cast member on Saturday Night Live from 2005 until 2013. He also voiced Fear in Pixar’s Inside Out (2015), and voiced J.P. Spamley in Ralph Breaks the Internet (2018) and Featheringhamstan in Lightyear (2022).

PRODUCTION

We all remember the time when Disney were releasing direct-to-video sequels constantly, all based on previous popular Disney animated classics. Some of these are beloved by the kids who watched them. Others have been brutally ripped apart, perhaps unfairly, perhaps not.

There was once a time when Pixar movies may have been subjected to this fate, of low-quality animated sequels to some of their biggest hits being made, and it was all thanks to Disney. It has been reported that around 2004 or 2005, Disney tasked Circle 7 Animation, a division of Walt Disney Feature Animation that only lasted from 2004 to 2006, with making a Monsters, Inc. 2. They’d also planned to make a Finding Nemo 2 and a different version of Toy Story 3, as a way of using Pixar properties. Allegedly, Monsters, Inc. 2 had a storyline that saw Mike and Sulley visit Boo for her birthday, but on going through her closet door, they see Boo has moved and they go to find her. When they find Boo, Sulley and Mike discover she is too old to believe in monsters, and they must get her younger brother to convince her to help them leave the human world though her old door. They are also trying to save Celia, who has been captured by a monster-obsessed human wanting to prove monsters are real[1]. It sounds like a wacky story that probably wouldn’t have worked well, so lucky for all of us, that Circle 7 Animation’s plans never came to fruition and the division was promptly shut down. It was supposedly just a pressure tactic from Disney, because during this time, Disney were looking to buy Pixar. This deal was later completed in May 2006.

It wasn’t until a decade after Monsters, Inc. was released that Pixar confirmed they were actually working on a new Monsters, Inc. movie, with this being officially announced at the D23 Expo in 2011, by John Lasseter and voice of Mike Billy Crystal. It was confirmed that this movie was in fact going to be a prequel called Monsters University, making it clear to the audience that they were going to be watching a film about Mike and Sulley in college.

Monsters University was directed by Dan Scanlon, who was a 24-year-old storyboard artist at Pixar when Monsters, Inc. was released in 2001. Monsters University was his directorial debut of a feature film at Pixar; he had already co-directed the short film and Cars spin-off Mater and the Ghostlight (2006) with John Lasseter. Dan Scanlon had worked on Pixar features such as Cars (2006) and Toy Story 3 (2013) as a story artist prior to Monsters University. He later directed and co-wrote Onward (2020). Scanlon left Pixar in 2024. Scanlon stated that prequels are tricky and risky, because the audience already knows where the story is going, so they can feel quite predictable, but the plan was always to be to make the story relatable, whilst also turning the expected story on its head. It was decided the prequel was the way to go, despite its challenges[2].

Scanlon also co-wrote the story of Monsters University, alongside Dan Gerson and Robert L. Baird. Gerson had co-written the screenplay of Monsters, Inc. so no doubt his expertise from the original movie was invaluable when creating the prequel. He also co-wrote the Disney Animation movie Big Hero 6 (2014), alongside Baird, with the film going on to win the Academy Award for Best Animated Film. Gerson sadly passed away in 2016 and was said to be working on Pixar’s Cars 3 (2017) at the time. Baird had co-written the screenplay for the 1999 Disney Channel Original Movie The Thirteenth Year early on his career. After Monsters University and Big Hero 6, Baird co-wrote the screenplays for the animated films Ferdinand (2017), from Blue Sky Studios, and Nimona (2023) for Netflix.

Although we know that Mike and Sulley are going to end up working as a scaring team at Monsters, Inc., we don’t know how they get to that point. The title Monsters University obviously gives away the fact that the prequel will be taking us through their journeys at college, but outside of that, there are so many possibilities for the story to go. Initially, Sulley was still going to be the main attraction of Monsters University, since he was already the focus of Monsters, Inc. There were plans to give him some big emotional backstory, like having an absent father, in order to give Sulley more of a purpose and personality, because in Monsters, Inc., he spends much of his time with Boo, as her protector, so he needed something else to occupy his time in Monsters University. There was also an idea to have Sulley wanting to be a dentist, but that story element was quickly dropped as he was clearly always meant to be a scary monster with his huge stature.

After these ideas didn’t work, it was then decided that perhaps Mike should get his chance to shine in Monsters University, and he should be following his dream of being a scarer, which, before the opening titles even start rolling, we already know is not going to happen because of the events of Monsters, Inc. This eventual failure of his scaring dream is the message that audiences would take away from Monsters University, that although you can work hard in achieving a dream, it doesn’t always work out the way you’d hoped. This basically altered expectations about the film as we saw that the journey to Mike and Sulley ending up at Monsters, Inc. was not an easy one[3].

There were plenty of other sequences and scenes that did not make it into Monsters University. One was that Mike and Sulley were going to end up in Drama Class together after being kicked out of the Scare Program at Monsters University. During this time, the tension between the two and the rivalry would’ve been obvious as they attempt to prepare for the Scare Games and put on this play with their class about the history of scream energy. Over time, it was meant to show Mike and Sulley learning to work together and become friends, with Mike helping Sulley remember his lines during the play after forgetting them on stage. This play would’ve also given us important information about scream energy, that enough scream energy created on the opposite side of a door, in the human world, for example, can be enough to power it on the other side. This is something we learn during the big scare that Mike and Sulley do in the summer camp. It was decided that the Drama Class sequence, although funny, was not necessary since the Scare Games is where Mike and Sulley ultimately resolve their conflict, and it didn’t fit in well with the rest of the story. There was also an alternative prank by Roar Omega Roar on Oozma Kappa, which would’ve seen the Roars scaring them during a movie night, but this was deleted as it was decided that the whole point of this prank was not to show that Oozma Kappa were easily scared, but was meant to show that they are not scary so cannot be scarers. Another deleted sequence would’ve introduced a new college program to us, Recon, where monsters go into the human world to spy on kids and figure out what their fears are, to draft scare reports.

Potentially the most interesting deleted sequence could’ve ended up being the most important sequence in the film, and would’ve helped with a major plot hole that was discovered by viewers. This plot hole revolves around the fact that Mike says to Sulley in Monsters, Inc. that Sulley has been jealous of him since the fourth grade, making it seem like Mike and Sulley already knew each other from school. However, Monsters University tells us that Mike and Sulley first met here, annoying some people because Pixar had ignored something in their own franchise’s storyline. This is something I noticed shortly after watching Monsters University too. But be assured, Pixar did plan to address this. In this deleted concept, Mike was meant to meet Sulley in the fourth grade. Jealous of Sulley’s instant popularity due to his size and scary nature, Mike proceeded to try to outdo Sulley with his knowledge of scare theory. This rivalry went on for years, until Mike and his family moved away. Ultimately, Dan Scanlon felt that this sequence just wasn’t working, so he was told by John Lasseter and Pete Docter, the director of Monsters, Inc., to focus on the college story and not let this one line from Monsters, Inc. affect the prequel. The filmmakers had probably hoped we wouldn’t notice or wouldn’t care[4]. Sadly, some very much did, and still do, care! I like to think that perhaps it’s one of those cases where you can meet someone at school and not really remember them, reconnecting later in life and only realise you’ve met them before after talking about some really specific event. Since Sulley and Mike don’t talk all that much about their past lives in Monsters University, we could imagine that maybe they didn’t get talking about school until after they were expelled and then they remembered each other – but that’s a lot of “ifs” and “maybes”!

With this new college setting in the monster world, it was decided that the filmmakers had to do some proper research into college life, so naturally, they took a research trip, which consisted of tours of Ivy League campuses. It’s not exactly Mexico or South America, like the Pixar team went to for Coco and Up, but I guess it’s something! Some of the universities they visited were Harvard, MIT, and Berkley, so Monsters University became a mixture of all of these campuses. Many of these colleges had a gate entrance, so one was made for Monsters University, for example, and they tended to have buildings made of red brick, so this was incorporated into the design for Monsters University. The Scare School was created to be the focal point of the campus, as older buildings on real campuses were obviously built first, with others spreading out from it. The age of the building was also shown, not just architecturally, but also by the bronze statue outside with the faded paw, showing that many students even before Mike’s class at touched it for good luck.

Other details added to the campus include the use of flyers, with new ones stapled up on top of years of older, crumpled, disintegrating ones, on columns and boards across the area, and they also added bird poop to the buildings and statues to show the age of Monsters University, showing its history and prestige! Monsters University was designed to look like a normal US college campus, but the added motifs and decorations of teeth and eyes made it seem more “monster-like”[5].

Alongside design elements for the look of Monsters University, the team also had to figure out what experiences would need to be added to the movie to make it feel like a quintessential college film. Obviously one glaring omission from this film is alcohol. Pixar and Disney can’t be seen to advertise drinking, underage or not, in their films, but they tried to get across the party atmosphere with their heavy use of fraternities and sororities. This emphasis on parties was even seen in the teaser trailer, where Sulley pranks Mike by gluing bits of mirror to him to turn him into a disco ball!

These fraternities and sororities ended up being quite useful to the story, not only because they created ready-made teams for Mike and Sulley to go up against in the Scare Games competition, but also because they allowed us to see a wide-range of different personalities without the need to introduce us to too many minor characters. This was achieved basically by making each fraternity and sorority a sort of stereotype. For example, the Eeks are the athletic jock girls; the Pnks are the perfect sorority girls, who look sweet on the outside, but are vicious on the inside; the Roars are the cool, posh boys; and Hss are the emo/goth group. Oozma Kappa are the misfit fraternity[6].

There are hundreds of monsters within Monsters University, many more than were seen in Monsters, Inc. Although software had been created for Sulley’s fur for the first movie, this software had been developed so much that even more furry monsters could be designed and used in this movie, to go alongside other types of monsters of varying shapes and sizes, even ones that fly. These additional monsters enormously helped with the atmosphere of Monsters University, to make it feel like it was a place of diversity. Pixar has said to look at the backgrounds to spot all these different types of monsters. But monsters from the previous films who made a return would also need to be aged down for Monsters University. For example, Mike is skinnier, with a more vibrant colour to his skin and less pronounced horns. He also has a retainer. Sulley is skinnier and shaggier, and his fur is shinier[7]. Randall is smaller and punier than he is in Monsters, Inc. and his skin is more purple.

Another character design to mention is that of Dean Hardscrabble. Hardscrabble was going to be a typical, grumpy male dean, with an alligator tail, but after some thought, the filmmakers realised they hadn’t seen a great female scarer in this world so Dean Hardscrabble began a strict, authoritative female dean instead. The basis for her monster appearance is a centipede, and the Pixar team studied giant centipedes to see how they moved and behaved. Despite centipedes generally being considered to be gross-looking by most, the filmmakers said there was a graceful elegance to them, which they wanted to get across in Dean Hardscrabble’s character. I’m going to be perfectly honest and say I thought she was designed after a dragon; I’d never noticed her legs before[8]!

Rounding out the production of Monsters University, there are the usual Pixar Easter eggs and references to mention. The A113, the number of the classroom at CalArts where many Pixar animators studied, is on the door of Scaring 101 on the first day of the Scare Program. The Pizza Planet truck is parked in the driveway of the Jaws fraternity house on that party night when Mike and Sulley are chasing the pig. The Luxo ball from the Pixar short film is seen in graffiti on the wall of the sewer during the Toxicity Challenge of the Scare Games.  The next Pixar movie after Monsters University is The Good Dinosaur (2015), so this was referenced with dinosaur toys in the bedroom that Young Mike sneaks into during his school field trip to Monsters, Inc. Pixar Studios’ address of 1200 Park Avenue is also referenced, as Don Carlton’s business card shows his address as being 1200 Dark Avenue.

You can also see a few nods to Monsters, Inc. One of these is that George, the monster who is on the receiving end of the “23-19” alert is a member of the Jaws fraternity. There is also the Winds of Change poster above Randall’s bed, which refers to a line he says to Mike and Sulley in the original film[9]. At the end of Monsters University, you can see a picture of Sulley shaking hands with Mr. Waternoose, the CEO of Monsters, Inc., a main character in the first film, too. It is rumoured that Kelsey Grammer, best known for his role as Frasier Crane in both the sitcoms Cheers (1982-93) and its spin-off Frasier (1993-2004) was meant to voice Mr. Waternoose in an apparently cut scene. Celia, who also only appears in picture-form in this montage, in Mike’s locker, was apparently meant to return for Monsters University too, as was Randall’s assistant Fungus. For some reason, this did not happen. Finally, the title sequence of Monsters University even refers back to Monsters, Inc. as it is another 2D graphic-style title sequence, contrasting against the computer animation of the main film. This time, the opening titles follow Mike’s journey to being a scarer, through his school work and eventual acceptance to Monsters University.

MUSIC

For the score of Monsters University, Randy Newman made his return as the composer, after his work on Monsters, Inc., allowing for continuity between the two films. Newman is known for his frequent collaborations with Pixar over the years, including on A Bug’s Life (1998) and the Toy Story franchise.

Newman’s score had to consist of both bringing emotion to the story and giving the music that “collegiate” feel. This meant using the sound of marching bands and drums to express that university-style sound, where these instruments are used for pep rallies and events like that. Some examples of this sound can be found in the tracks “Main Title”, used for the title sequence, and “The Scare Games”, playing during a montage of some of the games’ events. To record some of this style of music, Pixar brought in the percussion group The Blue Devils Drum Corps, to give that authentic sound. There is also the track “Monsters University”, which is a chorus singing the university’s school song.

Another key point of the college atmosphere of Monsters University that comes across in the music is the mixture of music genres that can be heard across a university campus in the real world; this is mimicked in Monsters University. This can be specifically heard in a couple of tracks. One of these is “Scare Pig”, which is used for the scene of Mike and Sulley chasing down Fear Tech’s pig mascot that Sulley stole. As the two wreak havoc across various parties going on at the college campus, you can hear an acoustic guitar player in a casual get-together, followed by rock music playing at the fraternity and sorority party. Another is “Roar”, the name of the music playing at the Roar Omega Roar party where Oozma Kappa get pranked by the Roars. This is electronica party music, perfect to get people dancing. “Roar” was written and performed by Axwell and Sebastian Ingrosso, from the Swedish House Mafia group, known for their electronic dance music.

There are a few other tracks in the Monsters University soundtrack that I also like. “First Day at MU” is one, as it feels hopeful and reflects how Mike is feeling on that first day at the Scare School, thinking his future is looking bright. Another is “The Big Scare”, which is used for the sequence of Mike and Sulley pulling off that scare at the summer camp with the rangers. It’s a huge moment for not just the history of scaring, but for Mike and Sulley’s friendship and teamwork, as they show that they work best as a scaring team rather than as individuals, with Mike’s attention to detail and Sulley’s natural scaring ability. I also like “Stinging Glow Urchin”, the music playing during the Toxicity Challenge and race in the Scare Games. One other track worth mentioning is “Field Trip”. This features during the moment where Mike takes Oozma Kappa to Monsters, Inc. so they can witness the Scare Floor in action. It uses some of the music from the Monsters, Inc. soundtrack, like the music used in the chase sequences, and the track “Enter the Heroes”, which is used as a slow-motion clip of the scarers arrive for a day of work, but in Monsters University, it is used whenever the factory’s exterior is seen, so both in this sequence for Oozma Kappa and in Michael’s field trip at school at the start of the film.

Newman has stated how happy is to compose music for Pixar’s high-quality animated movies. Director Dan Scanlon also stated how helpful Newman was during the composition stage and orchestral recording of the score, as he had admitted that the music was the part he knew the least about when directed a film. Scanlon said how affecting it was to see the music come together with the animation to make the movie feel complete[10].

Despite Randy Newman winning awards for his music on Monsters, Inc., namely for the song “If I Didn’t Have You”, which won an Academy Award and Grammy Award for Best Original Song, amongst others, the Monsters University soundtrack was not as widely acclaimed. Instead, it only received one nomination, at the Annie Awards, for Outstanding Achievement in Music in an Animated Feature Production. Newman and Pixar lost to the musical team of Robert Lopez, Kristen Anderson-Lopez, and Christophe Beck and their work on Disney’s Frozen. I guess Pixar had to just “let it go” on this occasion.

RECEPTION

Just a little less than 12 years after the release of Monsters, Inc., Monsters University was released in theatres, on 21st June 2013 in the US, becoming Pixar’s first, and only, prequel.

Apparently, it was initially planned for release in November 2012, its date being moved to 2nd November to avoid direct competition with The Twilight Saga: Breaking Dawn – Part 2, a very popular film that year. Monsters University’s date later moved to June 2013. It would seem that Disney’s Wreck-It Ralph (2012) took the November 2012 position instead[11].

In theatres, Monsters University was released alongside the Pixar short film The Blue Umbrella (2013). This short followed the journey of a blue umbrella finding love with a red umbrella. After being separated by their owners, the blue umbrella breaks away and attempts to be reunited with the red umbrella, only to be hit by high winds and speeding traffic. The blue umbrella is later found damaged in the road, in a broken heap. It is picked up by its owner, and the red umbrella owner comes over to help. The owners of the blue and red umbrella walk away together, reuniting the two-coloured umbrellas. This short was directed and written by Pixar employee Saschka Unseld. Strangely for a Pixar short, The Blue Umbrella missed out on an Oscar nomination for Best Animated Short Film.

But back to Monsters University. For the most part, Monsters University received positive reviews, although some of these positive reviews generally say that the movie is perfectly fine and watchable, so not exactly a glowing review! Some stated that this prequel was reassuring from Pixar, expanding on the Monsters, Inc. characters and its world. They liked seeing more backstory for Mike and Sulley, and the supporting cast was also memorable and funny. The message of Monsters University, about hard work not necessarily equating to a dream coming true, was an important one to state, as it goes against the general message of child-focused movies, and even parents’ motivation to their children, where we usually hear that being determined in the pursuit of a dream will mean that it happens. It’s not the most upbeat message, but it is more realistic to real life, where things don’t always work out as you’d planned. Personally, I liked the fact the film allowed kids to see that adults can be scared by monsters, with the giant scare Mike and Sulley plan and enact towards the end of the film. Monsters, Inc. had made it seem like only children get scared, but that’s not true; adults get scared too. Others said that they enjoyed the twists in the story, like how Mike didn’t actually win the Scare Games for his team, and that Mike and Sulley did get expelled, with Dean Hardscrabble holding firm on that after they broke numerous university rules. The surprise return of Roz and The Abominable Snowman was also welcomed. Monsters University was considered to be a great film for the family to enjoy.

On the other hand, there were negative comments given by audiences and critics. One of these was purely linked to the expectations, or lack thereof, that come from a sequel. Pixar had a very disappointing sequel with Cars 2. Monsters University was the next prequel or sequel to come after that, so although some felt it exceeded expectations, others felt it was disappointing and lacked an interesting story with heart, unlike its predecessor. With numerous other Pixar sequels already announced to be coming in the following years at this point, those being Finding Dory (2016), Cars 3 (2017), Incredibles 2 (2018), and Toy Story 4 (2019), it is possible that this had annoyed viewers and their annoyance affected their enjoyment of Monsters University, even before they’d seen any of it. It is also the typical “prequel problem” that the viewers know how the story is going to end, because they’ve already seen the original film, so that meant that excitment and tension was lacking. It was decided that Monsters University was simply not a good enough movie to come from Pixar, and the world was still waiting for them to come back and hit the heights they’d last achieved with Toy Story 3 – and pretty much every movie they’d made before then.

Despite the slightly mixed reception, Monsters University did well at the box office in 2013. In North America, it debuted with $82.4 million on its opening weekend, becoming Pixar’s second-best opening weekend for one of their films at the time, with Toy Story 3 the best opening weekend they’d had at $110 million. It also opened in the No. 1 spot at the box office. This meant that Pixar had had 14 No. 1 openings in a row, for all 14 of the feature films they’d made. Its worldwide debut came in at $136.5 million after opening in 35 other countries at this time, however, it was struggling against some tough competition. In Australia, Despicable Me 2 (2013) came out at a similar time to Monsters University. In the box office fight, Monsters University lost in that county[12]. By the end of August 2013, Monsters University had made over $700 million worldwide, making it the fourth-highest grossing Pixar film, behind Toy Story 3 with $1.06 billion, Finding Nemo with $922 million, and Up with $731 million[13]. It later ended its run at just under $745 million.

Overall, in 2013, sadly, Monsters University struggled against some movies that did exceptionally well in the later half of the year. One of these was Disney Animation’s Frozen (2013), which made over $1 billion worldwide. Frozen was in the top spot in the worldwide box office figures. This was followed by Marvel’s Iron Man 3; Despicable Me 2; The Hobbit: The Desolation of Smaug; and The Hunger Games: Catching Fire. Monsters University ended the year at No. 7 in this list, however, it did just about reach the Top 5 in the domestic box office for 2013 and it easily beat out some other animated movie releases for the year, like DreamWorks’ The Croods and Turbo; and Sony’s Cloudy with a Chance of Meatballs 2.

Monsters University was not as widely acclaimed as Monsters, Inc., so naturally, it did not achieve much success during awards season. Monsters University was not even nominated for Best Animated Feature at the Academy Awards; this award was won by Frozen. Frozen actually swept the Best Animated Film category at multiple awards ceremonies, including the BAFTAs, the Critics’ Choice Awards, the Annie Awards and the Saturn Awards, where Monsters University was actually nominated. The Satellite Awards didn’t give this award to either Frozen or Monsters University, although both were nominated; the winner was Japanese film The Wind Rises (2013), directed by Hayao Miyazaki. Outside of that, at the Kids’ Choice Awards, Monsters University was nominated in both the Favorite Animated Movie and Favorite Voice From an Animated Movie – for Billy Crystal – categories, but lost out to Frozen, and Miranda Cosgrove as Margo in Despicable Me 2, respectively. Monsters University was nominated for various Annie Awards, including Best Animated Feature, Animated Effects, Character Animation, Character Design, Production Design, and Writing. Billy Crystal was once again nominated for his vocal performance as Mike Wazowski, but lost to Josh Gad and his character of Olaf from Frozen. Pixar did, however, win the Annie Awards for Storyboarding and Editorial for Monsters University. It also won the Hollywood Animation Award at the Hollywood Film Awards.

LEGACY

Mike and Sulley have continued to be popular Pixar characters, showing up on screen and at the Disney Parks. These are some experiences that appeared shortly after Monsters University, and in more recent years.

On screen, the short Party Central (2013) premiered at the D23 Expo in Anaheim in August 2013, just a few months after Monsters University’s release date. It later was attached to the theatrical release of Disney’s Muppets Most Wanted (2014). In this short, directed and written by Pixar director and storyboard artist Kelsey Mann, Mike and Sulley make Oozma Kappa’s first fraternity party one of the best parties ever. They do this by stealing items from Roar Omega Roar’s party, and leading guests through door stations, that go through a human couple’s bedroom, into Oozma Kappa’s house. Squishy’s mother walks in when the party is in full swing, and comes up with a huge stunt that involves jumping through the doors. The party makes students want to join Oozma Kappa – and traumatises the human couple who ask to sleep in their son’s room because they have monsters in their closet! The cast from Monsters University returned to voice their characters here.

Years later, a new addition to the Monsters, Inc. franchise came to Disney+. This was the Disney+ series Monsters at Work (2021-present), which followed the events of Monsters, Inc., specifically the transition of the factory from scream energy to laughter. It follows a recent graduate from Monsters University, Tylor Tuskmon, who comes to Monsters, Inc. to be a scarer, only to be told that job no longer exists. He is instead reassigned to work in the Monsters Inc. Facilities Team. The first series follows Tylor’s struggles as he adjusts to his new career path. The second series sees Tylor debating whether to take a job at rival company Fear Co. Some new characters were added to Monsters at Work, including Tylor, voiced by Ben Feldman, known for such roles as Jonah Simms in Superstore (2015-21) and Ron LaFlamme in Silicon Valley (2014-19). Mindy Kaling joined the voice cast as Val Little, having already voiced Disgust for Pixar’s Inside Out (2015), as well as had success with her own sitcom The Mindy Project (2012-17), as did Henry Winkler, Fonzie in Happy Days (1974-84) and more recently Gene Cousineau in Barry (2018-23). Other characters, and their voice actors, from Monsters, Inc. and Monsters University also returned for select episodes. Billy Crystal and John Goodman reprised their roles as Mike and Sulley too. The series has run for two seasons. One came to Disney+ in 2021 and the other came to both Disney+ and Disney Channel in 2024. Monsters at Work won two Children’s and Family Emmys, one for Individual Achievement in Animation in 2022 for Ron Tolentina Velasco, and another for Voice Directing for an Animated Series in 2025 for Kevin Deters and Stevie Wermers. A third season of the show was confirmed in February 2025.

Outside of that, there have been questions around whether or not we should expect a Monsters, Inc. 3, especially now that Pixar have released Inside Out 2, which did exceptionally well financially, and later announced Toy Story 5, coming in 2026; Coco 2; and The Incredibles 3. It seems like it is only a matter of time. Back in 2016, Pete Docter said he could never say never when asked about a further Monsters, Inc. film, although did also state that the Pixar filmmakers purposely went for a prequel because they didn’t think a story about seeing Boo grown up and meeting up with Mike and Sulley again was particularly interesting[14]. It could also be argued it is too close to the plotline of the Toy Story franchise. This is, however, the story that Monsters, Inc. fans would want exploring in a third film. We’ll have to see what Pixar do, if anything, with the Monsters, Inc. franchise, but frankly, I think the Disney+ series is enough and we don’t need another film.

The Disney Parks also added experiences to its parks after the release of Monsters University, although some were only for a limited time. One of these was the “Monstrous Summer” event that came to Walt Disney World Resort in Florida and Disneyland Resort in California over the summer of 2013, as promotion for Monsters University. 

The kick-off to this summertime event was called the “Monstrous Summer All-Nighter”, where Magic Kingdom Park at Walt Disney World and both Disneyland Parks were open from 6am on 24th May 2013 until 6am on 25th May 2013. This all-nighter was announced in April 2013, with Mike Wazowski and Sulley being projected onto Spaceship Earth in Walt Disney World’s Epcot. The actual event included special showings of parades, such as the Mickey’s Soundsational Parade at Disneyland, and two runnings of the Main Street Electrical Parade at Walt Disney World. There were also meet-and-greets with characters and dance parties throughout all the parks on both coasts. It would also seem that Monsters, Inc. was being shown in Tomorrowland at Magic Kingdom during this event, though why you’d choose to watch that instead of riding all the attractions that were open, I don’t know! Other limited time experiences for “Monstrous Summer” included the Walt Disney World Monorail being wrapped in images from Monsters University, in what came to be known as the “Monsterail”, and wake-up calls being available at resort hotels, where Mike could call guests to wake them up[15]. Both Walt Disney World and Disneyland also had two different Monsters University pre-parades, featuring floats, dancers, and Mike and Sulley.

Also at Walt Disney World, specifically at Disney’s Hollywood Studios, guests could meet Mike and Sulley in Monsters University costumes during that summer in a specially-designed area. They later met guests together at Walt Disney Presents, but now, Sulley seems to be the only character from either Monsters, Inc. or Monsters University still meeting guests here during normal park hours, at Pixar Place. In Magic Kingdom’s interactive show Monsters, Inc. Laugh Floor, an update was made to the show to include the Monsters University gates as a background for the comedian monsters, although characters from the film were not added.

Perhaps the most exciting of all to come to Walt Disney World though is that at the D23 Expo in 2024, it was announced that humans would once again be invited into the monster world, but this time into Monstropolis itself because Monstropolis is being built at Disney’s Hollywood Studios, taking over the area that was formerly Muppets Courtyard, home to Muppet*Vision 3D since 1991 – and the less popular but much loved by me PizzeRizzo. Fans were very sad to say goodbye to this area, but some interesting concepts are coming to the area, such as the former Mama Melrose’s Ristorante Italiano becoming the Harryhausen’s restaurant, as seen in the first film, and the Monsters, Inc. factory is being constructed to house a ride through the famous door vault, with this set to be the first ever suspended coaster at a Disney Park. The area will not be open until around 2027 or 2028.  Muppets Courtyard closed in June 2025, but the Muppets will still be at Disney’s Hollywood Studios, as they will be part of a retheme coming to Rock ‘n’ Roller Coaster sometime in 2026[16]. This area may see some small references to Monsters University but nothing major.

At Disneyland, there doesn’t appear to be much specific to Monsters University either, however, Mike and Sulley were characters spotted at Pixar Fest in 2024, meeting guests at Pixar Pier at Disney California Adventure. They also featured as part of the Better Together: A Pixar Pals Celebration! parade, and clips from the film played during Together Forever: A Pixar Nighttime Spectacular. At the renovated Pixar Place Hotel which opened in January 2024, you can see references to both Monsters, Inc. and Monsters University in artwork here, with one specific nod to Monsters University being in the fitness centre. Here, Mike and Sulley’s scene where they run on treadmills, competing against each other in the gym, has been painted as a mural on the wall.

Looking to the international Disney Parks, Disneyland Paris used to have an area with the Monsters, Inc. scream canisters in their Worlds of Pixar area, but these seem to have disappeared as part of the major changes coming to the Walt Disney Studios Park as it transforms into Disney Adventure World for Spring 2026. Also at this park, the stage show TOGETHER: A Pixar Musical Adventure, which opened in 2023, has a performance that features Monsters, Inc. There is also an interactive walk-through exhibit at Shanghai Disneyland called Pixar Adventurous Journey, which has a section featuring the Monsters, Inc. locker room and the door vault, as well as statues of Mike, Sulley, and Boo. Sulley may also be available to meet guests at Tomorrowland on occasion, alongside other Pixar characters. There will also be a new Pixar show coming to Hong Kong Disneyland, which will apparently showcase Monsters, Inc. An opening date is not yet known. But again, these are just newer Monsters, Inc. experiences, and are not themed to Monsters University.

Finally on the Disney Cruise Line, the Eye Scream Treats ice cream location on the Disney Magic, Disney Fantasy, Disney Dream, and Disney Wonder ships has an image of Mike on its signage. The new Disney Adventure Cruise Ship, set to set sail in March 2026, is said to have two restaurants that should reference Monsters, Inc. These are Mike and Sulley’s Flavors of Asia, themed to Harryhausen’s, and Pixar Market Restaurant.

Surprisingly, merchandise for Monsters University is fairly easy to find currently, as the logo has been added to various items of clothing that is on sale at stores around the Disney Parks. Items themed around Sulley, Mike, and Boo tend to be what you’re more likely to find globally and outside of the parks though.

FINAL THOUGHTS

We seem to be living through a time of “sequel fatigue” and it is only looking like this trend is going to continue at all movie studios. Sometimes, these sequels might be a surprise hit, like Toy Story 3, whereas others might be bitterly disappointing, like Cars 2.

Pixar did well from my point of view in making the second instalment of Monsters, Inc. a prequel, because this gave a fresh take on the story. We didn’t have much detail about Mike and Sulley’s lives prior to working at Monsters, Inc. in the first film, so for me, basing the story at university, and having the characters grow into the characters they become in the original film was the best direction to take the story.

I’m not sure a sequel where we just saw Boo again for the sake of appeasing audiences was ever going to be enough, so I can only hope that Pixar don’t progress with this idea, or even a third film in general. But given how their original movies have done at the box office of late, I can sadly see mostly sequels in Pixar’s future, and I would consider Monsters, Inc. 3 high up on their list of possibilities. 


REFERENCES

[1] Credit: The Disney Classics, ‘Circle 7 Animation (Pixaren’t)’, TheDisneyClassics.com, 4th September 2021.

[2] Credit: Henry Fitzherbert, ‘Making of the Monsters University scream team’, Express.co.uk, 30th June 2013.

[3] Credit: Pixar, “Story School”, Pixar Official YouTube Channel, 27th September 2016.

[4] Credit: Pixar, “Deleted Scenes”, from Monsters University (2013), Disney+.

[5] Credit: Pixar, “Welcome to Monsters University”, Special Features YouTube Channel, 19th April 2021.

[6] Credit: Pixar, “College Days”, Pixar Official YouTube Channel, 1st October 2016.

[7] Credit: Peter Sciretta, ’10 Things You Need To Know About Pixar’s ‘Monsters University’ [D23 Expo]’, SlashFilm.com, 21st August 2011. 

[8] Credit: Pixar, “Monthropology”, from Monsters University (2013), Disney+.

[9] Credit: Julie & T.J., ‘Monsters University – An In-Depth Look at the Hidden Items, References and Details of the Film’, PixarPost.com, 28th June 2013.

[10] Credit: Pixar, “Music Appreciation”, Special Features YouTube Channel, 19th April 2021.

[11] Credit: Jim Vejvoda, ‘Pixar’s Monsters University Pushed’, IGN.com, 8th May 2012.

[12] Credit: Pamela McClintock, ‘Box Office Report: ‘Monsters U’ Zooms to $82 Million Debut; ‘World War Z’ Nabs $66 Million’, HollywoodReporter.com, 23rd June 2013.

[13] Credit: Andrew Stewart, ‘‘Monsters University’ Crosses $700 Mil at Global Box Office’, Variety.com, 29th August 2013.

[14] Credit: Marc Snetiker, ‘Toy Story 4: Pete Docter talks Pixar films, Monsters Inc 3 rumors’, EW.com, 1st November 2016.

[15] Credit: Lex Mancini, ‘The Monstrous Summer All-Nighter in 2013: 24 Hours in Magic Kingdom’, WDWMagazine.com, 24th May 2022.

[16] Credit: Blog Mickey, ‘Muppets Courtyard Blocked Off, Construction of Monsters Inc. Land to Begin Soon at Hollywood Studios’, BlogMickey.com, 8th June 2025.

#4 Monsters, Inc. (2001)

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

BACKGROUND

In the early 2000s, Pixar was still the baby in the world of animation, especially when compared to the fully matured Disney Animation, who had been working on full-length animated features ever since 1937, with their first movie Snow White and the Seven Dwarfs.

And yet, Pixar was considered a prodigy, barely putting a foot wrong and consistently showcasing its talent. By the time Monsters, Inc. was released in 2001, they had only released three movies before it: Toy Story (1995), A Bug’s Life (1998), and Toy Story 2 (1999). Two were original stories and one was a sequel. It was a brilliant track record to show that Pixar was one to watch, but it wasn’t yet enough to prove that the studio was going to be one of the best in the business – although, of course, we can all say that now.

Monsters, Inc. had to prove that Pixar Animation Studios was only getting to get better and better as the years went on and the movies kept coming.

But where should their new story take us, the viewers? We’d already had a look at what our childhood toys are doing when we aren’t around, and we delved deeper into the world of insects with A Bug’s Life, so Pixar chose to do something different. They took us into the monster world, using the basic idea of children fearing those monsters under their beds or in their closets as the premise to get us there.

I’m pretty sure my family and I watched Monsters, Inc. in the cinema when it first came out. I can’t remember much about what I thought about it then, but I’m sure I probably liked it; I just don’t know how I felt about it in comparison to the other Pixar films that came before it. Monsters, Inc. was one we used to watch at the weekends on DVD, that’s what I remember the most. It was a good Sunday afternoon film, to momentarily halt the worries and disappointment about having to go to school on Monday.

I clearly did not understand the emotional depth of Monsters, Inc. when I was younger, but on re-watching Monsters, Inc. as an adult, those touching moments, like Sulley and Boo’s goodbye, are tear-jerking. The humour is also different and the detail and the impressiveness of the animation is more obvious. However, I cannot say that I love Monsters, Inc. – I can only say I like it. I think Pixar has made much better movies in the years since, and ones that I relate to more. I don’t think I ever believed in monsters as a child, or if I did, I wasn’t so emotionally scarred that I can remember it! So, Monsters, Inc. is just a good film, but not the best for me, and not one I revisit particularly often.

PLOT

Monsters, Inc. begins with an opening sequence featuring the titles and monsters hidden behind closet doors. After that, we see a boy going to sleep, but he thinks he can see a monster in his closet. Suddenly, a huge monster appears from under the bed. The boy screams – as does the monster, stumbling backwards in shock, falling into the kid’s toys.

A screen goes up, showing that this was all a simulation and the boy is actually robotic. This was a training exercise for “scarers”. The monster is quizzed on what he did wrong by Ms. Flint the recruiter. He says his big mistake must’ve been that he fell down. In reality, his mistake was leaving the door to the room open. Flint asks the monster and the others watching this simulation why this is such a problem. Mr. Waternoose, the CEO of this company, comes in and says the door being open could’ve let in a child. Mr. Waternoose reiterates that human children are toxic. This puts many monsters off wanting to go into their bedrooms, but this monster world needs the children’s screams for energy, because this company is Monsters, Inc., the energy company for all Monstropolis.

One of Monsters, Inc.’s top scarers is James P. Sullivan, also known as Sulley. On this particular day, he has been woken up by his flatmate, best friend, and assistant Mike Wazowski for a pre-work workout. They take a break to see Monsters, Inc.’s new company advert on television. It features Sulley heavily, with Mike only getting a brief shot before the company logo masks him entirely – but Mike is just excited he was on TV! The advert emphasises the importances of scarers in a time when human kids are not as easy to scare.

Mike and Sulley then head off to work, walking because Sulley reminds Mike there is a scream shortage so perhaps they shouldn’t take Mike’s new car. At the factory, we see that Sulley is very popular, that he has won Scarer of the Month nine months in a row, and he is currently in competition with another scarer, Randall, for the all-time scare record. Mike is currently dating the company receptionist Celia. He is taking her to the exclusive restaurant Harryhausen’s for her birthday tonight, and he’s very pleased with himself! In the locker room, as Mike and Sulley get ready for a hard day’s work, they are confronted by Randall who says he’s going to break the scare record before Sulley.

Mike is sent to prepare the office for Sulley’s scaring duties. But this office is actually the huge “scare floor”, where monsters scare side-by-side. Mike has a run-in with Roz, one of the secretaries here, for not getting his paperwork filed on time and he is warned not to do it again. He then preps the floor with the other scarers’ assistants, getting doors in place from the huge door vault, loading up scream canisters, grabbing scare reports, and activating the doors. Now, the scarers can arrive and prepare themselves. Randall practises blending into different backgrounds, for example; others have fake eyes and teeth. The scare floor manager announces which time zone they’ll be working on and counts down to the scare floor being online. Once online, the scarers start on their day.

Randall and Sulley both get through plenty of doors. Randall finally manages to pass Sulley on the scare record leaderboard – only for Sulley to luckily encounter a slumber party, meaning he gets extra screams for multiple kids and takes first place again! Mr. Waternoose comes over to congratulate Sulley on another great day’s work. We also see one scarer come out of his door looking distraught. The kid he was meant to scare was not scared at all. The assistant declares this door is a “dead door” and it is shredded so no other monster will encounter this child again. Another monster, George, comes out of his room with a sock on his back. His assistant declares a “23-19” which brings officials from the Child Detection Agency, the CDA, into the factory. They deal with the offending article, destroying it via a controlled explosive, and promptly shave George to ensure there are no toxins still on him. The scare floor is shut down temporarily, much to Mr. Waternoose’s annoyance.

Mr. Waternoose talks with Sulley about the future of the factory, fearing that he will be the one to see his family business go under, with new scaring recruits not being up to the job. Sulley is asked to do a demonstration for some of them sometime and he gladly says he will. At the end of the day, Mike happily goes to get Celia so they can head off for their date, but Roz comes up to him asking for paperwork. Sulley says he can do the paperwork for Mike. Sulley starts to collect the paperwork from their desk, and sees a door on the scare floor after hours. Sulley sees it is still active and checks inside for a scarer. There is no answer, but he is alerted by a strange noise, and sees a little girl playing with his tail. Sulley freaks out and tries to return the kid to her room. He falls over items in her room and quickly leaves, covered in her stuff. Sulley then hears someone coming to the door – it’s Randall – and he rushes out, to the locker room, to try and flush this stuff away. Instead, it just blocks the toilet so he bundles it all up and tosses it in someone’s open locker. Believing he is safe again, Sulley starts to head home. However, he soon learns that the girl is on his back. Sulley freaks out again and manages to trap her in a bag. He attempts to go back to her door but a confused-looking Randall ejects it, as the kid is no longer in there.

Uncertain what to do now, Sulley goes to Harryhausen’s and bothers Mike on his date. He tries to calmly ask what to do without giving anything away, but the strange behaviour soon makes Celia suspicious. Sulley tells Mike to look in the bag he brought in, but Mike doesn’t see any bag. Sulley notices the child has escaped from the bag and she runs around the restaurant. She is soon spotted and it causes a major incident in Monstropolis with the CDA being called once again. Sulley and Mike get the kid in a takeaway box and leave the restaurant just in time. They are not caught by any agents, although Celia is taken away. The restaurant is then covered with a decontamination force field. Mike and Sulley run back to their apartment.

Inside, they hear helicopters circling the city as the CDA search for the child. Mike and Sulley are terrified they are now sharing their apartment with what they’ve been led to believe is a toxic human kid. They try to keep her away from them, but it doesn’t work. She is suddenly interested in Mike’s teddy bear, Little Mikey, and Sulley attempts to give it to her, but Mike snatches it away, not wanting her to touch it. The girl starts to cry loudly, which makes the power fade in and out, alerting the helicopters to them. Mike desperately tries to shut the blind, and tells Sulley to calm her. He attempts this, but scares her when he recoils, making her cry again. Mike comes over to help, but slips and gets stuck in a bin with a speaker falling on him. This makes the girl laugh. Her laughter causes a power outage!

Mike starts to concoct a plan for how they can escape and return the kid, but nothing sounds right. Sulley tosses sugary cereal at the kid and lets her draw, while they think of something. She starts to look tired, so Mike tells Sulley to find somewhere for her to sleep. Sulley leads her to his room, setting up an area in the corner with newspaper and more cereal, but she immediately gets into the huge bed and snuggles in. Sulley can’t be bothered to argue with her and goes to leave. Sulley realises she’s worried about monsters being in her closet – which isn’t going to happen in Monstropolis – so he tries to show her it is empty. She doesn’t seem convinced though, and shows Sulley a drawing of a purple lizard. Sulley realises that drawing is of Randall, so he is her monster. Sulley decides to sit with her until she goes to sleep. Once she does, he goes back to Mike and asks what they should do. Mike says they can hardly just walk into the factory with her. That gives Sulley an idea.

The next day, disguised in some chair fabric with fake eyes on top of her head, Mike and Sulley bring the little girl to Monsters, Inc. and try to act natural, though that’s quite difficult when the factory is swarming with CDA agents searching for the kid, making their plan to just put her back in her door more difficult. They regroup in the locker room, and Mike says he’ll ask Roz for the kid’s door key, whilst Sulley waits there. He notices that the kid needs to use the bathroom so he takes her there, but she then wants to play hide and seek! Sulley plays along. Meanwhile, because Mike hasn’t filed his paperwork, Roz won’t give him the keycard, and slams her office shutter on his hands. He returns to the locker room and asks where the kid is. Sulley says he doesn’t know, but she then runs in, scared because she saw Randall. The three of them hide, as they overhear Randall and assistant Fungus talk about the kid. Randall needs to find her, so that he is not discovered as being involved.

After they’ve gone, Sulley asks Mike if he has her door key, and Mike lies, saying he has, taking a random one on their way to the scare floor. Mike tries to say goodbye and send her on her way, but Sulley says that’s not Boo’s door. This is where Mike learns Sulley has named the kid Boo, fearing this means he is growing too attached. Sulley refuses to put Boo in that door, but once they’re done arguing, the two see she has run off again. Mike says this is great because someone else can deal with her now, but Sulley goes to search for her. As they do that, Randall asks the two about what they think of this whole situation. Mike passes suspicion on to another co-worker, getting Randall away from them. But then Mike is confronted by Celia. Mike tries to quickly apologise, but Celia is furious and annoyed he doesn’t understand her fury isn’t about his choice of sushi restaurant. Randall overhears this, and looking at the newspaper front page, he sees Mike in the picture, proving Mike was involved. Mike starts to run, but Randall finds him. He tells Mike the kid’s door will be at his station at 12pm for thirty minutes. He has until then to return her.  

Meanwhile, Sulley is chasing after Boo and sees her fall into the trash. He becomes distracted by two CDA agents who want his autograph. On turning back, he sees the trash has been delivered to the trash compactor. He follows it down, and sees the trash being sorted, cut up, and pressed into cubes. Sulley continuously faints as he watches the process, believing Boo is in that trash. He sees a trash cube with one of her fake eyes on it and sadly carries it away. Mike catches up to him, after seeing monster George get covered in the kids’ belongings from his locker and having “23-19” declared on him again, and asks what’s he doing with a cube of garbage. Sulley says it’s Boo and he can still hear her. They hear numerous kids’ voices, and find Boo with a group of others and a childminder. Sulley rushes up to Boo. One of these monsters calls Mike’s name, because Boo has been shouting it out, and bites Mike’s hand, causing Boo to laugh and for the lights to go out.

Mike and Sulley use the darkness to run off and get to Boo’s door on the scare floor. But when Mike mentions Randall set this up, this makes Sulley suspicious and Boo scared. Mike enters the room and jumps on her bed to prove it’s safe, but he is taken away by Randall who places him in a fake scream canister cart. Boo and Sulley follow them to a secret lair, where they see Randall and Fungus threatening Mike with their newly invented “scream extractor”, their way of revolutionising the scream industry. Mike is told to talk but he won’t say anything so the machine is turned on. Sulley manages to unplug it before it gets to Mike, so Randall goes to investigate why it isn’t working. Mike tries to reason with Fungus and get him released, but it doesn’t work. Sulley comes in and switches the two, so when Randall plugs the machine back in, Fungus has become the victim of the extractor.

Sulley decides they have to tell Mr. Waternoose what has been going on. When they find him, Sulley is thrown straight in to doing a scaring demonstration. He gives a big roar in the simulator, unaware that Boo is nearby and is terrified to see “Kitty” like this. She runs off in tears, tripping over a wire, which makes her costume fall down over her head, revealing she is the human child. Mike and Sulley explain what’s been going on. Mr. Waternoose says they’ll need to resolve all this, starting with taking care of the child. A door is called, but it is clearly not Boo’s door. Mr. Waternoose says this door is actually for them, and Randall pushes them into it. They arrive in snowy terrain, realising they’ve been banished to the human world, the Himalayas to be precise. The two fight and tumble down the mountain, coming face-to-face with another banished monster, the Abominable Snowman. The Abominable Snowman takes them to his cave and tries to feed them his famous snow cones but they are too busy arguing. The Abominable Snowman says there is a human village nearby, but that they can’t possibly get there in this snow storm. Sulley fashions a makeshift sled and goes on alone, since Mike refuses to help him. Eventually, his sled hits a rock, breaking apart. But Sulley is right by the human village. He takes a door back to the monster world, arriving back on the scare floor. Monster George is about to hear “23-19” from his assistant again as he finds another sock on him from Sulley bursting out the room, but George simply shoves the sock in the assistant’s mouth and tosses him in instead!

Sulley arrives at Randall’s secret lair just in time as Boo has been strapped to the scream extractor. Sulley breaks it and tosses the arm against the wall, trapping Fungus and Mr. Waternoose, but not Randall who jumps out of the way. He goes invisible and starts to strangle Sulley. Mike suddenly arrives with snow cones and continues his argument with Sulley. Boo tries to get Mike to notice that Sulley is in trouble, but he just thinks Sulley is close to tears. Luckily, a poorly aimed snow cone throw reveals Randall, and Sulley punches him. They run back to the scare floor, but Celia once again confronts Mike. He tells her everything but she doesn’t believe him until she sees Boo. Celia realises she’ll have to help and makes an announcement that Randall has broken the all-time scare record so he is slowed down by monsters congratulating him. The three get to the scare floor and try to call Boo’s door, but the system is too slow. They hit eject, making all the doors leave the floor and jump on one, entering the expansive door vault. Randall follows. They attempt to follow Boo’s door, but it ends up on a different track, so they start going through various doors in the factory to get closer to it, making Boo laugh to activate them. A chase ensues.

They make their way through the doors in the vault, but Randall eventually manages to take Boo from them, and removes their door from the track, letting it smash on the ground, just as Mike and Sulley get through it. They get through another door and get back to the vault, continuing to chase Randall down. Randall sees Sulley getting closer and goes inside a door with Boo. Randall knocks him down. With Sulley clinging to the edge of the door, Randall attempts to crush his hands so he’ll let go. Suddenly, Boo jumps on Randall and starts hitting him with a baseball bat, showing she isn’t scared of him anymore. Sulley gets to his feet and grabs Randall. Him and Mike then find a suitable door and throw him through it, smashing the door so he cannot return. We see that Randall has ended up in a caravan in the middle of nowhere, where the occupants beat him up with a shovel, thinking he’s a gator!

The three then find Boo’s door. Mike is told to make Boo laugh again to activate it, but when he does do something funny – and painful – she isn’t looking. The door then starts moving back to the scare floor. They hide behind it, knowing they’ll be arrested if they’re spotted. Mike pretends to have the kid, but instead spits out a sock at the agents, distracting them. Sulley grabs Boo’s door and installs it in another part of the factory. Mr. Waternoose notices the distraction and follows them, entering her room as Sulley tries to say goodbye. Sulley confronts him, saying they don’t need to be kidnapping children to keep the company going. Mr. Waternoose announces he’ll kidnap a thousand children before he lets the company die and hits Sulley, grabbing at the kid. He then realises the kid is not Boo and is the robot from the simulator. The screen comes up, showing Mike behind it, with the recording of Mr. Waternoose’s confession being played to the CDA.

Mr. Waternoose is promptly arrested and warns that the company is going under and that there will definitely be an energy crisis now. Roz is revealed to be working undercover with the CDA as their No. 1, for the last two and half years, now seeing that Mr. Waternoose was behind it all. Roz says Boo has to be sent home now, with the door shredded so she can never return. She allows Sulley and Boo to have a goodbye. In her room again, Boo excitedly shows Sulley all her toys, but Sulley lets her know he has to go now. Sadly, he leaves Boo in her room. When she opens the closet to find him, she realises it’s just a closet.

Sometime later, Monsters, Inc. is now an energy company that makes kids laugh for its power with Mike one of the top comedians and Sulley running the company. We learn that laughter is ten times more powerful than screams. Celia says a shipment of the magazine Business Shriek has just arrived with Mike and Sulley on the cover. Mike takes a look and they see the barcode is covering Mike’s face, but like with the TV advert, Mike doesn’t care. Sulley looks at his clipboard and flips to the back, showing he still has Boo’s picture of the two of them and a piece of her door. Mike says he needs to show Sulley something and takes him to a room, where we see Boo’s door has been put back together, by Mike, with his own hands. It needs the last piece to work. Sulley slides in the last piece, and the door activates. Sulley goes in, and smiles widely as he hears “Kitty” called once again.

CHARACTERS & CAST

James P. Sullivan, mostly known as Sulley, is the top scarer at Monsters, Inc. meaning he can be ferocious and menacing. With his large frame, big teeth, and loud roar, that’s not hard to believe, however, Sulley is actually just cuddly behind all that. Sulley has been told, like all monsters, that human children are toxic, making the monsters fear the children as much as the children fear them, but when he meets Boo, he learns that is not the case, and feels very protective of her, wanting to send her home, but not at any cost. He can see how scared she is of Randall and doesn’t want her to have to encounter him again. Sulley leads the new energy revolution because of his and Mike’s experience with Boo, making Monstropolis and the human world a happier place.

Sulley was voiced by John Goodman, who had previously voiced Pacha in the underrated Disney animated movie The Emperor’s New Groove (2000) just before working with Pixar here. He went on to voice “Big Daddy” La Bouff in The Princess and the Frog (2009) and Baloo in The Jungle Book 2 (2003) for Disney too. Goodman is also known for his role as Dan Conner in the television series Roseanne (1988-97, 2018) and then The Conners (2018-25), and more recently, his role as Dr. Eli Gemstone in The Righteous Gemstones (2019-25). Goodman has also had a variety of movie roles, such as his part in The Borrowers (1997), where he played Ocious P. Potter; playing Fred Flintstone in The Flintstones (1994); and his character Marshall in The Hangover Part III (2013). His more serious film credits include Argo (2012), where he played John Chambers; 10 Cloverfield Lane (2016), being cast as Howard; Patriots Day (2016), portraying Boston Police Commissioner Ed Davis; and Kong: Skull Island (2017) as William Randa. Goodman also recently voiced Papa Smurf in the 2025 film Smurfs. He became a Disney Legend in 2013.

Mike Wazowski is Sulley’s assistant, so you’d think it might feel like he’s playing second fiddle to the main attraction, but that is not how Mike comes across. Mike is more confident than Sulley and more outspoken in the workplace too. He clearly sees himself as the brains behind their operation, and although that might not always be the case, Sulley is quite happy to let him think it! Their friendship is long-lasting, and even though they don’t agree over the Boo situation initially, with Mike more willing to let someone else deal with her, in the end, Mike sees that Randall and Mr. Waternoose’s plan for Monsters, Inc. is not right and that they need to expose their true intentions, also warming to Boo on that journey.

Billy Crystal was cast as Mike Wazowski, after previously turning Pixar down over their choice to have him voice Buzz Lightyear in Toy Story (1995). Big mistake, Billy. Huge. Crystal has had a varied career, beginning in comedy, with his role as Jodie Dallas in the sitcom Soap (1977-81) and becoming a cast member on Saturday Night Live (1975-present) for its 1984-85 season, which has since become known as the “All-Star Cast” season, with other big names like Martin Short, Julia Louis-Dreyfus, and Christopher Guest joining that season too. Crystal is also well-known for playing Harry Burns in the much-loved rom-com When Harry Met Sally (1989), opposite Meg Ryan. He is also a director, with his directorial debut being Mr. Saturday Night (1992), where he also starred as Buddy Young Jr. He later directed, and co-wrote with Alan Zweibel, the movie Here Today (2021), starring as Charlie Burnz. Crystal has also hosted the Grammys and the Academy Awards numerous times since the 1980s and became a Disney Legend in 2013. He also earnt the Lifetime Achievement Award at the Critics’ Choice Awards in their 2022 ceremony. 

Boo is the little girl who wanders in from her closet into the monster world one night. Boo is having a great time in Monstropolis, not realising just how much danger she may be in, or how much danger she may be causing the other monsters; she’s just having fun running around and exploring! Boo isn’t scared of Sulley, thinking he’s just a big fluffy kitty, especially as he doesn’t roar at her. It’s only when she accidentally sees him at the scare demonstration that she actually sees what he’s capable of as a scarer, making Sulley feel incredibly guilty and horrible about how he has been making kids feel as these years he’s been working as a scarer. This makes Boo a catalyst for change in Monsters, Inc., for the good – and she made a new friend she’ll always remember on the way too.

Boo was voiced by Mary Gibbs, the daughter of Pixar director and story artist Rob Gibbs. She had previously voiced Baby Kiara in The Lion King II: Simba’s Pride (1998) for Disney, and her voice was later used for Baby Riley in Inside Out (2015), through archive recordings. Gibbs’ voice has been used in various Monsters, Inc. games and attractions too. 

Randall Boggs is the main villain of Monsters, Inc. He appears to be seriously competitive and desperate to gain the all-time scare record, to beat Sulley mostly. Randall has clearly been jealous of Sulley’s success at Monsters, Inc. for years, so there is friction between the two of them, but mostly on Randall’s side because Sulley doesn’t care about fame. Randall is Boo’s monster, leading her to be part of a grand elaborate plan by Randall to revolutionise scaring to keep Monsters, Inc. afloat. It may have been considered noble to be coming up with ways of making scaring easier and quicker, if the plan to kidnap children, including adorable little Boo, wasn’t so evil and repugnant. Randall doesn’t care about what he’s doing to these children and just wants to be seen as important and valuable. It’s a good thing Randall was banished by Mike and Sulley because he’s a horrible monster.

Randall is a particularly nasty villain from Pixar, and he has absolutely nothing to make him a redeemable character whatsoever. So, it’s quite strange that Pixar chose to hire one of the nicest actors in Hollywood, Steve Buscemi, to voice him. Buscemi has quite an acting range, playing both serious, villainous roles, and just hilarious, comedic roles. His more dramatic roles include “Mr Pink” in Reservoir Dogs (1992), Carl Showalter in Fargo (1996), and Nucky Thompson in Boardwalk Empire (2010-14). In comedy, he has popped up in many of Adam Sandler’s films, such as playing Walter Lambert in Hubie Halloween (2020); Wiley in Grown Ups (2010) and its 2013 sequel; and voicing Wayne in the Hotel Transylvania film series; and was a main cast member in the anthology television series Miracle Workers (2019-23). He was recently cast as Barry Dort in Season 2 of Netflix’s The Addams Family spin-off series Wednesday (2022-present). For Disney, Buscemi also voiced the cameo role of Wesley, a black-market businessman in Home on the Range (2004).

Fungus is Randall’s scare assistant. He isn’t the most competent of assistants, but that’s mostly because he’s scared of Randall and doesn’t want to be on the receiving end of any of Randall’s criticism or anger. Fungus seems to be an unwilling participant in Randall’s scheme to “extract” screams from human children but goes along with it because he has to. Fungus is later seen to still be a worker at Monsters, Inc., as one of the new comedians.

Frank Oz was cast as Fungus. Oz is well-known for being a puppeteer in various Jim Henson productions, with some of his most famous characters being Fozzie, Miss Piggy, and Sam Eagle in The Muppets, and Bert and Cookie Monster in Sesame Street (1969-present), in the earlier years of the series. He also voiced and puppeteered Yoda in some of the Star Wars franchise, including his first appearance in Star Wars: The Empire Strikes Back (1980). Oz is also a director, having co-directed The Dark Crystal (1982) with Jim Henson, going on to direct Housesitter (1992), Dirty Rotten Scoundrels (1988) and Little Shop of Horrors (1986). He was recently named a Disney Legend, in 2024.

Henry J. Waternoose is the third generation of the Waternoose family to be running Monsters, Inc. Under his leadership, he is dealing with an energy crisis due to the fact that human children are not scared easily enough, causing the scarers to have to work harder, and for the pool of children being scared to be smaller. Mr. Waternoose is eager to keep the company afloat, and with the new scarer recruits not up to task, he is looking elsewhere for ways of doing that. So, he has turned to Randall and the “scream extractor”. Mr. Waternoose is shown to be a more sympathetic villain, because of his need to keep the company in his family, but shows a lack of common sense and a lack of a moral compass in finding ways to do this. He doesn’t seem to like Randall’s methods initially, but went Sulley threatens to make this plan public knowledge, Mr. Waternoose has no problem with kidnapping Boo if that means he could get away with it. But he doesn’t and that’s why he’s arrested.

James Coburn was the voice of Henry J. Waternoose. Earlier in his career, he was cast as Flying Officer Sedgwick in The Great Escape (1963), going on to star as Derek Flint in the spy comedy Our Man Flint (1966) and its 1967 sequel Like Flint. He also won an Oscar for Best Supporting Actor for his performance in Affliction (1997), playing the part of Glen Whitehouse. Coburn had other roles in comedy films, like Harlan Hartley in The Nutty Professor (1996) and Mr. Crisp in Sister Act 2: Back in the Habit (1993). Coburn passed away in 2002, with his final film roles being Martin Tillman in American Gun (2002) and “Thunder Jack” in Disney’s Snow Dogs (2002).

Celia is the Monsters, Inc. receptionist. She is efficient at her job, but does appear to be a little bit ditzy, for example, giving weird nicknames to people like Sulley being “Sulley-Wulley” and seemingly being more bothered by her romance with Mike than anything else. But that’s fine, if that makes her happy! Celia does know that Mike is lying about something though, and is very forceful in demanding he tells her what it is. Mike manages to get away from her confrontation the first time, but on the second try, he opens up to her. Celia first thinks it’s a joke but on seeing Boo, she realises it was all true and she should help them get away from Randall as best she can. By the end of the film, Celia has forgiven Mike and their relationship is back on track.

Jennifer Tilly was chosen to voice Celia. Tilly has appeared in many film and television roles, and is known for her distinctive voice. For Disney, Tilly played the role of Madame Leota in The Haunted Mansion (2003) and voiced Grace in their animated movie Home on the Range (2004). Tilly is also the voice of the recurring character Bonnie Swanson in Family Guy (1999-present), and she plays the character Tiffany Valentine in the Child’s Play, i.e. Chucky, franchise, including in the recent Syfy series Chucky (2021-24). For the third season of the Paramount+ series School Spirits (2023-present), Tilly will play Dr. Deborah Hunter-Price. Tilly is also a competitive poker player.

I’d say the characters above are the main characters in the story of Monsters, Inc., however, there are a few others in the cast to mention. One of these is John Ratzenberger who voiced the banished Abominable Snowman. Ratzenberger is known for his long-running role as Cliff Clavin in the sitcom Cheers (1982-93), but has also come to be known for his many voice roles in Pixar movies. His time with Pixar began by voicing Hamm in Toy Story (1995), reprising that role for the franchise. He then voiced a character in every Pixar movie up until Onward (2020), before returning to Pixar to reprise his character of Fritz in Inside Out 2 (2024). Ratzenberger has had a mixture of cameo voice roles in Pixar’s films, as well as more prominent roles such as Mack in the Cars franchise and The Underminer in The Incredibles franchise. Regardless, it’s always fun to find Ratzenberger in the voice cast. 

Then, there is Bob Peterson, who has been a Pixar employee ever since its first movie. He worked within the animation department, before continuing his work with Pixar in a story and voice acting capacity. For example, Peterson co-wrote the screenplays for Finding Nemo (2003) and Cars 3 (2017), but has also voiced other Pixar characters, including Dug in Up (2009), and Mr. Ray in Finding Nemo. Peterson also wrote, created, directed, and reprised his role of Dug, in the animated series Dug Days (2021-23).

Finally, Bonnie Hunt is just a good name to mention, for her history of voice acting for both Pixar and Disney. In Monsters, Inc. she voiced recruiter Ms. Flint, who appears in the opening sequence. Hunt had previously voiced Rosie the spider in A Bug’s Life, and went on to voice Sally in the Cars franchise, and voiced the character Dolly in the Toy Story franchise from 2010 with her first appearance being in Toy Story 3 (2010). Hunt also voiced Judy’s mother in Disney’s Zootopia (2016) and its 2025 sequel. Hunt has had numerous live-action roles too, like Sarah Whittle in Jumanji (1995), alongside Robin Williams, and Kate Baker in Cheaper by the Dozen (2003) and its 2005 sequel, starring with Steve Martin.

PRODUCTION

Monsters, Inc. was a turning point for Pixar Animation Studios for a couple of reasons. One was that this was the first Pixar movie to be released after the Pixar team had moved to their new premises in Emeryville, California in 2000. This campus gave Pixar employees a sense of community and fun with additional areas for leisure activities, an on-site restaurant and café, and a theatre used for screening in-progress movies.  

The other reason Monsters, Inc. was a turning point is because it was the first Pixar movie not directed by John Lasseter. Pete Docter was instead chosen to head up the direction of Monsters, Inc., which was slightly concerning to Docter, as he had doubts about his abilities, but it was a necessary move because around this time Pixar were dedicated to making a new movie every year or so, to give others an opportunity to direct their own films[1]. It was a long process getting Monsters, Inc. made with lots of story changes and notes, and Docter said it was hard to not take the criticism personally and to just keep going, even when everything felt like it was falling apart. Pete Docter had previously worked mostly in story work for Toy Story, A Bug’s Life, and Toy Story 2 before directing Monsters, Inc. Since Monsters, Inc. he has worked on the story for WALL-E (2008), and directed the films Up, Inside Out, and Soul (2020). He is now the Chief Creative Officer at Pixar, since 2018.

Monsters, Inc. also has two co-directors, Lee Unkrich and David Silverman. Unkrich was credited as co-director on Toy Story 2 and Finding Nemo as well, before stepping up to direct his first film for Pixar, Toy Story 3 and followed that up with Coco in 2017. Unkrich is set to direct Coco 2, though a release date is not yet confirmed. Silverman is most known for his work on the hugely successful animated series The Simpsons (1989-present), going on to direct The Simpsons Movie (2007), as well as some of the more recent short specials for Disney+, such as Rogue Not Quite One (2023) and May the 12th Be with You (2024). Silverman also directed the animated movie Extinct (2021), and worked on some story sequences for DreamWorks’ The Road to El Dorado (2000).

As with many animated movies, Monsters, Inc. went through a variety of story changes during its development. The original treatment was said to follow a monster called Johnson, who dreamt of being a top scarer, but he was struggling. He was given one week by his boss to prove himself, and tasked with scaring a seven-year-old girl called Mary. Mary was constantly tormented by her older brothers, so when she heard someone in her room, believing it was one of her brothers disguised as a monster to scare her, she put a blanket over his head and started hitting him. Johnson was actually the monster scaring Mary and he made a quick getaway back to the monster world. He later discovered that Mary was still on his back as he did this, and tried to return her to her room, but found the door knob was broken and the door would need to be fixed first. Johnson took Mary home with him and tried to figure out what to do. The next day, Johnson went to work, telling Mary to stay in the apartment, but she didn’t and made a disguise so she could sneak out of the apartment and find her way home. At work, Johnson was told her door will need two days to be fixed.

Johnson then got a call from his landlady, telling him someone was in his apartment, and immediately rushed home, bumping into Mary on the way. He took her to his work and told her she can’t get home yet. Johnson said he still needs to work though, and Mary insisted she watched. When Mary saw Johnson struggling to scare children, she took over from him and did well, feeling a sense of power from it. Mary continued to scare, with Johnson getting the credit from his boss. Top scarer Ned started to feel threatened and looked for a way to put Johnson in his place. Johnson then learnt that Mary’s door had been fixed, but needing Mary to help him get the Monster of the Month award, he didn’t tell her and she continued scaring children. Over the next few days, their routine continued, but when Mary saw a little girl, she decided she just wanted to get home. Mary sat alone as Johnson celebrated winning his Monster of the Month award, and her disguise came down for just a few moments, but enough time for Ned to see that Mary was human.

Back at the apartment, Mary learnt that Johnson was keeping the fact her door was fixed from her and ran away. Johnson attempted to follow her, and his race to find her was sped up when the police department and the newsroom started reporting on a story that a human girl was running around the monster world. Johnson eventually found her. They broke into the factory’s door vault, but they were chased by Ned. When they did eventually find her door and activate it, Johnson was arrested and the door was ejected. But the door remained open with Mary inside. She made the door fall from its track, so the open door could catch Johnson, but it smashed, leaving Johnson in the human world with Mary. But he started a whole new life there, helping Mary to scare her brothers[2]

As you can see, some of this original treatment made it into the final story, but other elements did not. The main concept remained the same though; that monsters scare human children via their closet or bedroom doors, something that children have sometimes fear for years. Coincidentally, John Lasseter had a won a student award for his short film Nitemare (1980), which was also about a child discovering monsters exist. It is said to have helped inspire the overall concept of Monsters, Inc[3].

The character of Sulley, who was previously named Johnson, was not going to be a scarer in other story ideas, because it was felt that audiences could not find a monster who scares children as a likeable hero for the film, so he was supposed to be on the sidelines of Monsters, Inc., working a menial job like a janitor or assistant. This was shown in two deleted scenes, where Sulley was an assistant to the top scarer, who was an early version of Randall, and another where he worked down in the scream refinery, emptying the scream canisters. In both cases, it is clear Sulley doesn’t like his job and dreams of being a scarer. It was then decided that perhaps he could be the best scarer, like a star quarterback, and that there would be ways of making him a lovable big guy. 

Mike was not in the original storyline, with the original concept focusing just on the monster and the kid, but it was felt that Sulley should have a sidekick of sorts, a best friend character, so Mike was written in. He seems to have always been an assistant to a scarer, but not initially Sulley; Mike seemed to be the assistant to the eventual Randall character. Randall was another character who went through some changes, being a top scarer put out by the Sulley character’s rise to success, and also being a kiss-up to Mr. Waternoose, seeing himself as next in line to run the company. As per the original treatment, it was also clear that Mary, the child, was going to be older, but she was deemed to be kind of unappealing due to her bossy nature and her insistence on running off all the time, so they made the character younger, to give Sulley a need to look after her in the monster world[4].

The filmmakers also had to come up with a reason why monsters would be scaring children, and why this factory of working monsters would exist. So, they came up with the idea that children’s screams would be needed as an energy source to power this whole monster city. They covered the issue of time zones too, by having the scarers take on different shifts which would oversee a specific time zone, so children all over the world are being scared by these monsters. The door vault was created to house all the doors, because there would be millions of them in the world. The logistics and the mechanics of a working day at Monsters, Inc. are made clear to the audience with the scare floor sequence, where we see Mike and Sulley, Randall and other scarers and their assistants go about a typical day. The door vault is another scene that shows how Monsters, Inc. catalogues and stores these doors. These scenes and concepts didn’t change much by the final film.

There were numerous other contributors to the story on Monsters, Inc. with one credited name being Jill Culton, who had worked as a story artist on Pixar’s previous three films, and went on to co-direct Sony Pictures Animation’s Open Season (2006) with Roger Allers, a co-director of Disney’s The Lion King (1994). She also directed the animated film Abominable (2019). Jeff Pidgeon was another name, and he has worked as a story artist on various Pixar movies, including all four Toy Story movies, WALL-E, Up, and Turning Red (2022). Ralph Eggleston worked on both Pixar and Disney films in various departments including animation and production designer, with some of his credits being Aladdin (1992), Pocahontas (1995), Finding Nemo, Ratatouille (2007), and Inside Out. He passed away in August 2022, with Elemental (2023) being dedicated to his memory. The screenplay is credited to Andrew Stanton and Dan Gerson. Stanton has been at Pixar since its first feature, and was a co-director on A Bug’s Life prior to directing Finding Nemo, its sequel Finding Dory (2016), and WALL-E, and continues to be part of the Pixar Senior Creative Team. Stanton is also writing and directing Toy Story 5 (2026). Gerson co-wrote the screenplay for Disney’s Big Hero 6 (2014), and worked on the story for Chicken Little (2005) and Meet the Robinsons (2007).

With the story set, now came time to animate. But with this story being focused around monsters, there were so many directions for character design to go. Initially, Sulley was meant to have a brown furry torso and tentacles for legs, and Mike, still a green ball with one eye, was only going to have legs and no arms. An animation test was made of these two characters having a conversation to see how they’d look on screen and how expressive they might be. It was felt that Sulley’s tentacles drew too much attention from his face, and that Mike would look better and move better with arms. Sulley was then made to be a fully furry monster, although fur was always going to be difficult to animate. Many tests on specific software were run to see how the fur was going to move as Sulley’s body moved. There was even a virtual obstacle course created for the animated character to run through so any issues could be dealt with! It was very impressive that they managed to get this fur to work, and when we see Sulley in the snow, after being banished to the Himalayas, it is even more impressive to see snowflakes in his fur. The snow itself was already going to be difficult, with over one million animated snowflakes, but to be able to put it in his fur was something the animators didn’t think they’d achieve. Sulley ended up having over two million hairs! Boo’s t-shirt was another animation challenge, as they had to ensure the cotton fabric would move realistically on screen, because fabric moves in different ways[5]. There are also monsters with very different skin textures, like some are slug-like, like Roz, and others are scaly, like Randall, or there are ones with multiple limbs and tentacles, showing not one is the same.

The creation of the setting of Monsters, Inc. was exciting to the animators, because they got to create a whole new world here, that didn’t need to be based in reality. It was decided though that this city of Monstropolis was going to be like a human city, but made for monsters. You can see doors with different heights, and chairs with holes in to make way for monster tails, for example, and the grocery store or “grossery” store has odd-looking fruits and vegetables with names like “bilge berries”. Monsters, Inc. was made to look like a regular factory, with different areas for different workers. It was decided that Monstropolis should feel relatable to us, so it is basically a human city, with some minor changes[6].

Recording the voices was slightly different to usual. The biggest challenge was trying to record lines with a two/three-year-old, which was Mary Gibbs’ age when she voiced Boo. Gibbs got the role as she was the daughter of Pixar story artist Rob Gibbs and they needed to sketch a little girl drawing, so Mary was brought in. Gibbs always had her hair in pigtails so that is why Boo has pigtails in the movie. She was later chosen to be the scratch voice for Boo, before being chosen as the final voice actor. Mostly, they chased Gibbs around with a microphone as she played around the studio, and when they needed to get her to say something specific, Docter and her parents used puppets and other methods like jiggling her around to get the right noises from her. The screams and cries were apparently real[7]!

John Goodman and Billy Crystal actually recorded some lines together, which had not happened before, like with Tim Allen and Tom Hanks recording lines for Buzz and Woody in Toy Story. This was due to scheduling conflicts, but for Monsters, Inc., they had three sessions with Goodman and Crystal, to allow the two to bounce off each other and to do some improvised scenes. One of these was the locker room scene with the “odorants”.

Late on in the animation process for Monsters, Inc., there were additional problems that were encountered. One was that the ending, of Sulley not having an on-screen reunion with Boo, which was not liked by some at the audience screening, around two-thirds of the audience. Docter knew that if they animated the reunion, then it would never be as good as what the audience were imagining, so he had to fight to keep the ending as it was, even if it was quite open-ended and didn’t allow us to see Boo again[8]. Another was that the opening of the film was simply going to start with the kid sleeping and the monster coming to scare him, but it was later felt that this didn’t see the correct tone for Monsters, Inc., potentially making viewers think it was going to be scary. To counteract this, an opening sequence was created to get the tone of the movie right. It involves multiple doors opening, to reveal either monsters, non-scary ones, or parts of the title credits, set against a jazzy, upbeat piece of music. It was also all 2D to create a good contrast between Pixar’s usual 3D animation[9].

A more serious issue was around how a section of the movie might be interpreted due to the tragedy that was the events of 9/11 in 2001. The incident happened as the filmmakers were getting ready to do sound mixing on Monsters, Inc. so it was very late into the movie-making process. Alongside struggling with motivation to focus on this film due to their feeling that what they were doing was so trivial, they knew they had only about 60 days to get Monsters, Inc. fully finished, despite their fears over the obvious shift in global politics. There was one moment in the movie that was changed due to 9/11 and that was the part where the sushi restaurant is being decontaminated by the CDA. The restaurant was meant to be blown up, I guess to resemble the CDA’s controlled explosion of a child’s sock earlier in the film, but the Pixar team said that was no longer funny, and they changed it so the restaurant is decontaminated under some sort of force field. Everyone wondered whether anyone would even go to the cinema after 9/11, but in actuality, families were glad to have something joyful to do. It was also felt that Monsters, Inc. may have gone some way in helping the kids cope with their fears, as that is a key message in Monsters, Inc[10].

Disney Legend Joe Grant, who contributed to many stories for Disney Animation, including Dumbo (1941) and Alice in Wonderland (1951), is credited with coming up with the title for this film, a play on the film title Murder, Inc. (1960). It was apparently originally just meant to be named Monsters. Grant was incredibly supportive, even in his later years, with Disney and Pixar animators. Pete Docter said he enjoyed talking over story concepts with him and taking advice from Grant over the years. Grant died in 2005[11].

As with all Pixar movies, Monsters, Inc. contains a number of references and Easter eggs. These include Boo’s name appearing to be Mary, as she signs her drawings with that name; the Hidden City Café, a real café – it has since shut down – near Pixar’s studio that made a cameo appearance in the sequence of Mike and Sulley walking to work; and a glimpse of Boo’s scare report shows that she is scared of snakes, which would explain why her monster is Randall. There is also the Luxo Jr. ball, from Pixar’s 1986 short film Luxo Jr., seen in Boo’s room when Sulley and Boo say their goodbye, and the upcoming Pixar movie reference, a Nemo toy for Finding Nemo, also in Boo’s room. You can also see that Boo has a Jessie doll; she is from Toy Story 2. The Pizza Planet truck can be found outside the trailer that Randall is banished to. This location seems to have been replicated from a scene in A Bug’s Life. The usual A113, referencing the classroom many Pixar animators studied animation in at CalArts, is obvious in Monsters, Inc. and there are only theories as to where it might be. Some say the stars in the sky during the scene of Randall’s banishment can be connected to read A113; others say it is written on a wall in the door vault, although only A13 is seen[12]. Finally, the sushi restaurant Harryhausen’s is named after Ray Harryhausen, a famous visual effects supervisor and animator known for creating monsters in movies such as Jason and the Argonauts (1963) and Clash of the Titans (1981)[13].

MUSIC

The music for Monsters, Inc. was composed by Randy Newman, who had already become a frequent collaborator at Pixar, even this early on, after writing the score for all three of Pixar’s previous films: Toy Story (1995), Toy Story 2 (1999), and A Bug’s Life (1998). Newman went on to compose the music for Cars (2006), Cars 3 (2017), Toy Story 3 (2010), and Toy Story 4 (2019). He also composed the music for Disney Animation’s The Princess and the Frog (2009). Newman became a Disney Legend in 2007. Outside of animation, Randy Newman has composed the music for movies like Marriage Story (2019); Meet the Parents (2000) and its 2004 sequel, and co-wrote the screenplay and songs, but not the musical score, for ¡Three Amigos! (1986) alongside Steve Martin and Lorne Michaels.

The only song to feature in Monsters, Inc. is the End Credits song “If I Didn’t Have You”, performed by John Goodman and Billy Crystal as Sulley and Mike. It is a song to detail their close friendship and their loyalty to each other. It seems like Goodman and Crystal recorded this song together, and the filmmakers were impressed with their singing and their ability to stay in character whilst performing – and joking about with each other, of course! The lyrics actually mention the characters dancing, but there doesn’t seem to have been any actual dancing in the recording studio[14]!

Newman was nominated in the Best Original Score category at the Academy Awards, and won the Best Original Song Oscar – his first Oscar win – for the song “If I Didn’t Have You”. At the Grammy Awards, he was nominated once again in these two similar categories, Best Score Soundtrack Album for a Motion Picture, and Best Song Written for a Motion Picture, winning the Grammy for Best Song. The categories for Best Original Score were both won by Howard Shore and his soundtrack for The Lord of the Rings: The Fellowship of the Ring (2001). Despite winning the Annie Award for Outstanding Achievement for Music in an Animated Feature for both Toy Story and Toy Story 2, Newman did not win this award for Monsters, Inc. Instead, Joe Hisaishi did for Spirited Away (2002). At the World Soundtrack Awards, “If I Didn’t Have You” once again won the Best Original Song Written for a Film, and Newman was nominated for Best Original Soundtrack of the Year, and Soundtrack Composer of the Year, losing out to Howard Shore and The Lord of the Rings, and Patrick Doyle and Gosford Park (2001) respectively.

Within the score, I particularly like the “Main Theme”, which is played during the jazzy opening sequence of Monsters, Inc. It’s upbeat and sets out the tone of the movie, as Pixar wanted, to show viewers that this film might be about monsters but it’s not scary. I also like the track “The Scare Floor” when the scarers and assistants go about their day. Both of these tracks are instantly recognisable as coming from Monsters, Inc. For the more emotional moments, “Sulley Scares Boo” expresses Sulley’s guilt and upset at how he’s made Boo cry by accidentally scaring her, and “Boo’s Going Home” is another one that tugs on the heartstrings, as Sulley says goodbye. Despite the accolades that “If I Didn’t Have You” won, I actually don’t like the song much at all – but that’s just my opinion. It doesn’t look like there was any other song in the nominations I would’ve preferred to win though!

RECEPTION

Monsters, Inc. was released in theatres in the US on 2nd November 2001, having had its premiere at the Disney-owned El Capitan Theatre in Los Angeles on 28th October 2001. The movie was shown, as is quite customary, alongside the Pixar short film For the Birds (2000) about a large bird annoying smaller birds on a powerline. It was directed by Ralph Eggleston and won the Academy Award for Best Animated Short Film in 2001, amongst others. It first premiered in June 2000 at the Annecy International Animated Film Festival in France.

Monsters, Inc. was also released with bloopers, which was much appreciated by Pixar fans. Although Pixar had originally planned to create some bloopers for Toy Story for its 1995 release, there had been no time to do this with their schedule, so the first Pixar bloopers appear in A Bug’s Life. Bloopers only continued in Pixar movies for their next two features, so Toy Story 2 and Monsters, Inc., meaning that Monsters, Inc. was the last time we got these types of bloopers. It would seem that it took a lot of additional effort to make them, so that is perhaps why Pixar chose to stop doing them after this. The Monsters, Inc. bloopers even include an abridged version of the company’s play Put That Thing Back Where It Came From Or So Help Me, which is mentioned by Mike during the events of the film, for the first time when Sulley refuses to put Boo through a random door. In the bloopers, there is a small cameo by Toy Story’s Rex as he auditions to be monster Ted.

Monsters, Inc. reached $100 million in ticket sales after just nine days in theatres, reaching a total of $123 million in that time. It beat Pixar’s previous release of Toy Story 2 which took 11 days to cross the $100 million marker in 1999. The movie opened in first place at the US box office, with the Jack Black romantic comedy Shallow Hal (2001) opening in second place[15]. Monsters, Inc. didn’t actually come to the UK until February 2002, where it took the No.1 spot at the UK box office in its opening week, although it also took the top spot the week before its official release due to impressive ticket sales for preview screenings, making a total of £9.2 million in the UK by its opening weekend[16].

In total, Monsters, Inc. has made just under $580 million worldwide, and was listed in third place in the Top 5 Worldwide Box Office results of 2001; it also matched this positioning in the Top 5 US Box Office results of the year. In first place was Harry Potter and the Philosopher’s Stone, followed by The Lord of the Rings: The Fellowship of the Ring. DreamWorks’ Shrek hit the No. 4 spot, but was actually second in the US box office total takings, and Ocean’s Eleven rounded out the Top 5 worldwide.

Due to the potential for huge competition from Harry Potter and the Philosopher’s Stone, given the fact the book series was already popular, Pixar chose to move the release date of Monsters, Inc. forward by two weeks to avoid direct competition with Harry Potter on their opening weekend. It seems to have served Pixar well to do this. Later, they made a trailer which joked about the competition between the two movies. In this trailer, Mike and Sulley are playing charades and Sulley is acting out Harry Potter to Mike. Sadly, Mike is so terrible at charades that he doesn’t get it for ages, and when he finally does, the trailer cuts just before he can say the full name! Allegedly, Warner Bros. executives got wind of this and demanded to know what Pixar were doing. Pixar reiterated that they were not being mean-spirited and sent the trailer to them. The executives watched it and thought it was funny[17].

In terms of audience and critic reviews, these were mostly highly positive of Monsters, Inc. Many felt it was cheerful and fun, full of the gags and references that Pixar are well-known for. The voice cast was praised and the viewers could tell that the technological advancement of the computer animation was already a huge step-up from Toy Story. The story was considered to be entertaining and relevant to both adults and children. Monsters, Inc. has since become considered a timeless classic.

But although reviews were mostly positive, Monsters, Inc. did not escape any negative critique. Some felt that Mike and Sulley were simply not as great a double act as Woody and Buzz Lightyear from Toy Story, and that the villain characters, like Randall and Mr. Waternoose, were not developed well, as we were not given their backstory and this made them slightly more two-dimensional than they should’ve been. I personally don’t agree with the comment about the villains because sometimes it’s good for villains to just be evil because they are and not have some great sad story that made them that way, but I can slightly agree with Mike and Sulley not being as good as Woody and Buzz. I think the fact Woody and Buzz had to develop a friendship throughout the course of Toy Story and had to learn to overcome major personality differences made their relationship more interesting than Mike and Sulley who have just been best friends for years. Others also said that the humour in Monsters, Inc. was not as obvious as Toy Story, and paled into comparison with DreamWorks’ Shrek. Shrek is definitely funnier than Monsters, Inc. but the humour is not as clean as you’d expect to see from Disney and Pixar, so it is quite unfair to compare the two.

During awards season, Monsters, Inc. had the honour of being nominated at the Academy Awards in the inaugural Best Animated Feature category. Sadly, Pixar lost out to DreamWorks with Shrek. They lost out again to DreamWorks when Billy Crystal was nominated for Favorite Voice from an Animated Movie at the Kids’ Choice Awards, because Eddie Murphy won for voicing Donkey in Shrek. But Pixar did win the BAFTA Children’s Award for Best Feature Film and they did win the Annie Award for Character Animation, specifically for Doug Sweetland as the directing animator on Monsters, Inc. Monsters, Inc. was also nominated in other categories at the Annie Awards, but lost Best Animated Feature and Directing to Hayao Miyazaki and Spirited Away (2001), and Character Design was awarded to DreamWorks’ Spirit: Stallion of the Cimarron (2002).

You might be wondering where the Disney animated film for 2001 was in all this, as I haven’t mentioned it in the awards or the box office results. You may even be assuming that Disney Animation didn’t release a new movie that year, because they don’t always. They did though, and it was Atlantis: The Lost Empire (2001), a seriously underappreciated movie.  Atlantis: The Lost Empire was released in June of that year, so was not direct competition for Pixar, as per their distribution agreement, I presume, nor was it in competition with Shrek, which was released in May 2001. It simply did not do well at the box office or with reviewers, so it missed out on many award nominations, except at the Annie Awards but it did not win.

LEGACY

Mike and Sulley have continued to be popular Pixar characters, showing up on screen and at the Disney Parks. These are some experiences that appeared shortly after Monsters, Inc.

For the DVD release of Monsters, Inc., the short Mike’s New Car was created. This short film premiered in September 2002 with the DVD and VHS release of Monsters, Inc. It sees Mike want to drive Sulley to work, but his high-tech car, a new 6-wheel drive yellow car, different to the red car we see in the film, is too much for the guys to handle! Eventually, once the wipers, radio, alarms, and seats stop acting crazy, Sulley tells Mike to get out of the car so he can drive on alone, but Mike crashes the car, and is tossed out of the car by the airbag deploying. Luckily, Sulley catches him and convinces Mike to walk with him instead. The short ends with Mike saying he misses his old car! Mike’s New Car was nominated at the Academy Awards in 2002 in the Best Animated Short Film category, and was directed by Pete Docter and Roger L. Gould, a creative officer at Pixar and now Disney.

It was later announced around 2010 or 2011 that a prequel to Monsters, Inc. was in development at Pixar, and Monsters University, detailing Mike and Sulley’s journey through college, was released in June 2013. I personally prefer Monsters University to Monsters, Inc. but I’m probably in the minority there. Monsters, Inc. was also released back to theatres in 3D and along withFor the Birds back in December 2012, following in the footsteps of the 3D release of Finding Nemo just a few months earlier.

At the Disney Parks, some experiences based on Monsters, Inc. already exist with others coming in the next few years. One current one is at Magic Kingdom Park at the Walt Disney World Resort in Orlando. This is Monsters, Inc. Laugh Floor, which opened in April 2007, taking over the space in Tomorrowland that housed the CircleVision360 attraction The Timekeeper from 1994 until its closure in 2006. Monsters, Inc. Laugh Floor is an interactive show which sees characters from the film invite us humans into their world to make us laugh, so they can power their city. It’s a decent show, although it can get a bit samey if you’ve seen it lots of times. Also at Walt Disney World, but at Disney’s Hollywood Studios, Sulley is a frequent character at the meet-and-greet area in Pixar Place, alongside characters like Mr. and Mrs. Incredible and Frozone from The Incredibles (2004). Most exciting of all though is that at the D23 Expo in 2024, it was announced that humans would once again be invited into the monster world, but this time into Monstropolis itself because Monstropolis is being built at Disney’s Hollywood Studios, to open sometime around 2027 or 2028.

Outside of Walt Disney World, there are only two other Monsters, Inc. attractions, and one of those is set to close very shortly. At Disneyland, specifically Disney California Adventure Park, there is Mike & Sulley to the Rescue!, a dark ride attraction going through the events of the film. The attraction opened at this park in January 2006. It replaced the infamous Superstar Limo, which took guests on a ride through Hollywood to scout out celebrities. It was universally panned, and lasted less than year, opening as an opening day attraction on 8th February 2001, and closing in January 2002. Mike & Sulley to the Rescue! is set to close in early 2026 to make way for an Avatar-themed expansion in the park.

The other attraction based on Monsters, Inc. is Monsters, Inc. Ride & Go Seek! at Tokyo Disneyland, in Tomorrowland. It opened in April 2009, replacing the audio-animatronic stage show Meet the World. Monsters, Inc, Ride & Go Seek! takes place after the events of the film, with the storyline being that Sulley has brought Boo back to Monstropolis to play “Flashlight Tag” there, but Randall’s reappearance threatens to ruin the game as he tries to capture Boo again. Guests can play along here, with their ride vehicles equipped with flashlights that they can use to spot any monsters hiding around the city. The monster cast was expanded for this new game, so additional characters not seen in the movie appear here. You also get to see the all of monster Ted here, despite only his feet being featured in the film. Roz also makes an appearance at the end of the ride and can actually talk back to guests[18]. The ride exits at the Monsters, Inc. Company Store.

Monsters, Inc. characters also make an appearance in some Disney parades and nighttime shows, for example, in Paint the Night, the nighttime parade at Disneyland Park in California, Sulley and Mike have their own float. They also appear in projections in the Happily Ever After fireworks show at Magic Kingdom, the Wonderful World of Animation nighttime show at Disney’s Hollywood Studios, both at Walt Disney World, and some versions of Disneyland’s World of Color nighttime show at Disney California Adventure. Although you could sometimes be lucky and meet Mike, Sulley, and even Boo, at some Disney Parks, they are becoming rarer meet-and-greet characters now, but you can still find plenty of merchandise for them, including plush toys, dolls, clothing, and pins.

FINAL THOUGHTS

Monsters, Inc. proved that even with a different director at the helm, Pixar was still able to make a hit film full of heart, energy, charm, and memorable characters.

It is clear why Monsters, Inc. has remained popular over the years since its release, with plenty of further opportunities to move the story in different directions.

Monsters, Inc. cemented Pixar’s achievement and success in both computer animation and story that would be arguably unrivalled by any other studio for many more years, even Disney, putting Pixar at the top of the animation game for quite a while.


REFERENCES

[1] Credit: Pixar, The Pixar Story (2007).

[2] Credit: Pixar, “Original Treatment”, from Monsters, Inc. (2001) 2-Movie Blu-Ray Collection (2013).

[3] Credit: Jim Korkis, ‘Meeting John Lasseter 1997’, MousePlanet.com, 21st October 2015.

[4] Credit: Marc Snetiker, ‘Monsters Inc: Pete Docter dives deep into movie’s legacy and creation, 15 years later’, EW.com, 2nd November 2016.

[5] Credit: Pixar, “Early Tests” from Monsters, Inc. (2001) 2-Movie Blu-Ray Collection (2013).

[6] Credit: Pixar, “Designing Monstropolis” from Monsters, Inc. (2001) 2-Movie Blu-Ray Collection (2013).

[7] Credit: Mary Gibbs, ‘Boo Grown Up I FAQ about Boo’, Boo Grown Up YouTube Channel, 15th July 2020.

[8] Credit: Victoria Edel, ‘Director of Monsters, Inc. Explains How the Movie’s Heartwarming Ending Almost Didn’t Happen’, People.com, 12th March 2025.

[9] Credit: Pixar, “Opening Title Animation” from Monsters, Inc. (2001) 2-Movie Blu-Ray Collection (2013).

[10] Credit: Pixar, “Filmmakers’ Round Table” from Monsters, Inc. (2001) 2-Movie Blu-Ray Collection (2013).

[11] Credit: Jim Korkis, ‘Animation Anecdotes #236’, CartoonResearch.com, 6th November 2015.

[12] Credit: Aleena Malik, ‘Where To Find Every A113 Easter Egg In Pixar Movies’, ScreenRant.com, 1st October 2023.

[13] Credit: Jocelyn Buhlman, ‘Celebrate a Monster of an Anniversary with 15 Things We Love About Monsters, Inc.’, D23.com, 2nd November 2016.

[14] Credit: Pixar, “Monster Song”, from Monsters, Inc. (2001) 2-Movie Blu-Ray Collection (2013).

[15] Credit: Andrew Bridges, ‘Runaway ‘Monsters, Inc.’ Tears Apart a Record for Ticket Sales’, LATimes.com, 12th November 2001.

[16] Credit: The Guardian, ‘Monsters Inc stays top of box office’, TheGuardian.com, 11th February 2002.

[17] Credit: The Guardian, ‘John Lasseter (III): Guardian interviews at the BFI London film festival 2001’, TheGuardian.com, 19th November 2001.

[18] Credit: Pixar, “Monsters, Inc. Ride And Go Seek: Building Monstropolis In Japan (2009)”, from Monsters, Inc. (2001) 2-Movie Blu-Ray Collection (2013).

#17 Finding Dory (2016)

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

BACKGROUND

2016 was a big year for The Walt Disney Company, in terms of their movies.

Disney Animation themselves released both Zootopia in March that year, and then Moana in November. Pixar’s Finding Dory, the long-awaited, but perhaps not requested, sequel for Finding Nemo was released in Summer 2016. Outside of that, Disney released other movies, like Marvel’s Captain America: Civil War, their live-action The Jungle Book remake, and Lucasfilm’s Rogue One: A Star Wars Story.

It was a busy time, but one that naturally benefitted Disney’s profits, and made them feel very confident in their movie-making abilities, although let’s not forget that by this point, Disney had purchased Lucasfilm, Marvel, and Pixar, so really, their success was mostly down to other studios and directors, not solely themselves. Just trying to lower their ego.

Anyway, Pixar had needed a boost after their late 2015 film The Good Dinosaur, especially as 2016 was the 30th anniversary of the studio. The Good Dinosaur didn’t feel much like a movie from Pixar, missing a lot of their warmth and generally just being too scary and strange. It flopped at the box office and critics were not kind to it, a rarity for Pixar.

There was also concern from audiences that perhaps Pixar were going a little overboard with their sequel-making, as Finding Dory became their fifth sequel or prequel. Disney was following a similar pattern, with Frozen II (2019) and Ralph Breaks the Internet (2018) on the cards for them. Was this going to be an early sign of “sequel fatigue”?

Well, I’d say Pixar got a bit lucky because for the most part, audiences and critics enjoyed Finding Dory, despite the fact the story is largely the same as its predecessor, only that forgetful Dory gets to be the main attraction here, not the sidekick, and the location is moved from Australia to California. It may not have been a necessary film to make, but they just about got away with it.

I’m not saying that to be unkind because I’m one of few people that actually prefer Finding Dory to Finding Nemo. I’ve never been much of a nature person, not enjoying documentaries about that sort of thing, mostly because nature is cruel and makes me sad, so to have Finding Dory set in an aquarium made it more enjoyable for me, because I am familiar with that environment, whereas the ocean will always be a mystery.

PLOT

Finding Dory begins with young Dory, who I call baby Dory, learning how to talk to people about her short-term memory loss, with help from her parents. They seem to be getting her to practise playing hide and seek, however, Dory being Dory is told to count and forgets what she’s doing part-way through her counting. She sees a group of young fish playing nearby and swims out to them, but her parents tell her not to go over there because of the undertow:

A little while later, we see baby Dory is lost in the ocean, trying to ask other fish to help her find her parents. Most of them just ignore her, or claim not to be able to help her, but two kelp bass fish, Stan and Inez, do stop to talk to Dory. However, they are confused when she keeps restarting the conversation. Stan and Inez go to talk alone about how best to deal with the lost little fish, but by the time they turn back, Dory has gone…

Over the years, Dory continues to swim through the ocean alone, asking for help. As time goes on, she starts to forget exactly why she’s looking for help. At one point she sees a boat overhead, and then hits straight into Marlin, recreating a scene from Finding Nemo. Dory tells Marlin she knows where the boat went and tells him to follow her.

One year later, Dory is living next door to Marlin and Nemo. One night, she starts to remember something about her past, but she can’t quite figure out what. The next morning, Marlin and Dory swim Nemo to school, where Marlin continues to talk about his mission to rescue Nemo from the dentist, overexaggerating parts of the story, such as claiming he took on four sharks, when actually, he only met three. At the school grounds, Mr. Ray, Nemo’s teacher, arrives to take the class on a field trip to see the ray migration. Dory is looking forward to going along too, but Marlin is told by Mr. Ray that he’s going to have too many other fish to think about today, and having Dory along would be too much. Marlin tries to explain this to Dory; however, she misunderstands and says she’ll be Mr. Ray’s teaching assistant for the day to help out. It’s not worth the fight, so she sticks around.

Before heading off, Mr. Ray explains that the stingrays are heading home and that is why they migrate. Some of the kids ask Dory where her home is, which makes Dory question where she does come from, and where her parents are… before instantly forgetting what they were even talking about! But it’s time to go to see this migration.

At the stingray migration, Mr. Ray warns the kids not to get too close to the undertow, or they might be swept away from the group. This triggers something in Dory’s memory so when the rays come by – singing, of course – Dory becomes distracted and swims too close to the undertow. She is later found by Nemo and Marlin on the sand, where Nemo hears her mumbling something about “the Jewel of Morro Bay”. Dory comes round and Nemo repeats what she just said. This triggers a flood of memories for Dory and she finally remembers her family! Dory desperately wants to get to California to find them. Marlin says that’s too far away and she should accept her life as it is now. Marlin eventually reconsiders after thinking of Dory’s help on their journey to find Nemo, and he knows who can help.

We then see Marlin, Nemo, and Dory with Crush and the other sea turtles riding another current. This time, the current is heading to California. Crush tells them to get ready as their exit is coming up and they leave the current at some dark and scary place, full of wrecked ships and storage containers. This is the Shipping Lanes and Dory claims it is vaguely familiar to her. Dory starts shouting for help, asking if anyone knows her parents, Jenny and Charlie. Marlin tells her to stop making so much noise. He was right to be concerned because Dory inadvertently wakes up a big, glowing squid, who chases them through the area. Eventually, the squid is trapped in a container, but it still has use of one of its tentacles and grabs Nemo, slowly bringing him up to its mouth. Marlin and Dory try to get him back, and the squid lets go of Nemo when the box falls. Nemo is quite shaken by this near-death experience, and Marlin tells Dory, who is also concerned, to go away and just forget about it, like she does best. Dory decides to go and get help, with some plastic becoming stuck to her. Dory hears a voice, the voice of Sigourney Weaver, who leads her to a cove. As Dory surfaces to figure out where she is, Marlin and Nemo pop up too, just in time to see Dory being plucked out of the ocean and taken away in a boat.

It turns out Dory has been placed in the quarantine unit of the Marine Life Institute. She has been tagged on her fin. Here, Dory meets octopus Hank, although she quickly works out he only has seven tentacles, so is actually a “septopus”. Hank tells Dory where she is and explains that her tag means she is going to Cleveland Aquarium. Dory asks if he can help her find her parents in this institute. Hank says he will in exchange for her tag, since the institute is planning to release him into the ocean and he’d rather go and live in an aquarium alone for the rest of his life. Yeah, Hank’s a bit of a grumpy curmudgeon. Hank says he will take Dory to a map of the institute in a coffee pot, using his camouflaging and shape-shifting abilities to hide them from institute employees.

Meanwhile, Marlin and Nemo are trying to work out where Dory will be, with Marlin feeling especially guilty. They meet two sea lions sat on a rock and Nemo wants to ask them for help. Marlin fears these predators will pounce on them but these particular sea lions, Fluke and Rudder, are too lazy to do any pouncing. They tell Marlin and Nemo that the Marine Life Institute is a fish hospital and that Dory will be getting treated and then will be released back into the ocean. Marlin wants a way into the institute so Fluke and Rudder call for loon Becky – a loon being an actual type of bird. Marlin and Nemo watch confused as Fluke and Rudder make strange noises to call her…

At the map, Dory looks over it and tries to work out where to go. But Dory doesn’t know what to do, and Hank says she’s running out of time, because the employees are looking for the missing octopus, him. He takes Dory to a backstage area, where Dory sees a bucket labelled “Destiny”. Since Dory believes in destiny, she drops into this bucket, which is full of dead fish. Maybe this wasn’t such a good idea. At the tank, Dory and the other fish are poured in and Dory comes face-to-face with Destiny, a near-sighted whale shark, who hits into her tank’s walls all the time. Dory starts talking to Destiny, telling her she swims beautifully, and when Destiny thanks her “in whale”, Dory responds. This makes Destiny recognise that this fish is Dory. Destiny tells Dory that they used to speak through the pipes all the time as kids, dubbing themselves “pipe pals”. Dory realises Destiny must know which exhibit she is from and she sure does; Dory is from the Open Ocean exhibit. At that moment, Destiny’s neighbour, beluga whale Bailey, comes into the conversation. He’s in the institute for a head injury that he claims has damaged his echo location, where he can “see” his surroundings using echoes, but Destiny knows he’s fine. Bailey “attempts” to help, but it just won’t work. Destiny tells Dory she can easily get to Open Ocean through the pipes anyway, but Dory isn’t so good at remembering directions. Then, Hank arrives in the tank, demanding Dory’s tag. She says she needs more help first.

Back with Marlin, Nemo, and the sea lions, finally Becky has been called over. Fluke and Rudder tell Marlin he needs to look Becky in the eye and make a noise like “roo-roo” to get her attention. Then, she’ll take them straight to quarantine. Fluke and Rudder even convince fellow sea lion Gerald to give up his pale as a transportation device in exchange for a few seconds on Fluke and Rudder’s precious rock.

Dory devises a plan to get to Open Ocean without the pipes. Hank has commandeered a stroller and put Dory in a cup. Bailey looks over the top of his tank and waits for just the right moment. On his command, Destiny starts jumping in her tank to distract on-lookers. Dory and Hank get going, with Dory being tasked with following signs to Open Ocean. However, Dory gets distracted and they hit a small child on the way, knocking the cup with Dory over. The cup is returned to the stroller by a parent and Hank pretends to be a really ugly baby to avoid suspicion! But the kid dropped popcorn everywhere when she was hit and Becky the loon gets distracted this time, and leaves Marlin and Nemo in the pale on a tree branch while she eats. Marlin tries to get Becky’s attention again, but nothing works. Nemo tells him to just be patient, but Marlin pushes the pale closer to Becky, further down the branch. The branch snaps back and flings them into a gift shop tank.

Dory and Hank continue their journey, but Dory insists on following the sign to “The World’s Most Powerful Pair of Glasses”. Hank stops and demands Dory’s tag, telling her he’s done enough now. But Dory wants to remember more and tells Hank he’s being mean, despite octopuses – octopi? – having three hearts. As they argue, the stroller starts rolling down the hill with them inside and they crash into the Kid Zone, specifically the hands-on tank, where kids can grab at anything they want to grab at. Why would anyone think that was a good idea? Dory loses Hank in the tank and tries to find him. Hank is hiding and is absolutely terrified, since it would seem a child had something to do with him losing his tentacle. Dory tells Hank they should just keep swimming to get out. But to get out, they have to go through “Pokers’ Cove”. Just as they are about to leave, one kid pokes at Hank who freaks out and releases his defence mechanism: ink. Hank is embarrassed, but hey, it got all the gross children to go away! They also see they are right by Open Ocean.

In the gift shop, Marlin continues to try to get Becky’s attention, but she is too far away. Marlin and Nemo see her pick up the pale and fly to the roof of quarantine, proving that Nemo was right and they should’ve just waited. Nemo tells Marlin that this is just what he did to Dory; made her think she couldn’t do something she actually could. Marlin admits he was wrong to do that and says he could really do with her help right now. They start to think about what Dory would do to get out of this tank. Ahead of them, Marlin sees splash pad fountains. He tells Nemo they are going to jump out of the tank and use them to get across the park. They end up in a new pond, with a very loud, chatty clam. Now what?

At Open Ocean, Hank takes Dory in a cup to the roof of the exhibit. They say goodbye and Dory passes over her tag before being poured in. Dory swims in but can’t find help again. She starts to see shells in the sand and remembers that she was told by her parents to always follow the shells to find her way home. Dory does just that and she ends up at her home. However, the home is empty… Dory then remembers how she went missing. She heard her mother crying one night, concerned about how Dory was going to cope with her memory loss, and Dory decided to find a purple shell to cheer her up. But as she did, the undertow took her right into the pipes. Dory then hears two crabs ask how she got back to Open Ocean since all the blue tangs are meant to be in quarantine right now. Dory believes that must be where her parents are and asks how to get there. The crabs say to use the pipes, telling her it’s two lefts and a right to get to quarantine. Dory heads in.

Soon, she gets very lost and confused, as expected. Dory uses the pipes to contact Destiny, who convinces Bailey to use his echo location to locate her. They start to direct her but then “see” a big fish heading towards her. It’s too late; Dory heads right for this fish and Bailey and Destiny believe it has eaten her. But that’s not the case, because that big fish was just Marlin and Nemo; they’ve found her! Dory tells Destiny and Bailey she isn’t dead, to their relief, and the three fish all head to quarantine together.

In quarantine, they eventually locate the blue tangs, but as they attempt to jump there, they end up in a mop bucket. Luckily, Hank comes over to scoop them out and takes them to the blue tangs. Here, the blue tangs realise Dory is Jenny and Charlie’s daughter and have to give her the tragic news that they went to quarantine ages ago to find her and never returned. Dory is distraught, believing her parents must be dead. In the confusion, Dory is taken out of the tank by Hank just in time, but Marlin and Nemo are left in there. Suddenly, Hank is discovered by the workers and Dory is tipped down a drain. Once again, she is lost and alone in the ocean. Not knowing where to go, she sinks down to the sand, and then sees lines of shells in the sand. Following them, she comes to a house and two fish. Dory goes to ask for help, but the two fish rush up to hug her. It’s Dory’s parents! Dory apologises for forgetting them, but they say she didn’t forget them because she’s here, and they’ve been leaving shells for her in the hopes it would help bring her back to them. They went into the ocean to look for her, as they couldn’t find her in quarantine all that time ago.

Her parents ask what has happened over the years, which is when Dory remembers she hasn’t been alone all that time, because Marlin and Nemo were there for her, but now they need help. Dory and her parents go outside the institute and call to Destiny. They want help locating the van with the blue tangs heading to Cleveland. Bailey uses his echo location and tells Dory where it is. Bailey then convinces Destiny to jump out of her tank into the ocean to help Dory more. Destiny is concerned but Bailey reminds her there aren’t any walls in the ocean. They jump out and join Dory and her parents. Fluke and Rudder, the sea lions, also leave their rock to watch the commotion, with Gerald taking their place!  

The truck is heading away at speed so Dory knows they need to stop traffic. Dory involves a group of otters, who Destiny catapults with her tail onto a nearby bridge. Dory is tossed up there too and caught by an otter. Dory tells the otters to cuddle and the cuteness overload causes a pile-up. The otters then approach the institute’s truck and open the door. Hank quickly puts Dory into the tank with Marlin and Nemo. The otters are chased away by the van drivers, so Marlin calls for Becky. Becky comes over but only takes Marlin and Nemo out of the tank, not Dory. She’s still in the van with Hank. Becky returns but is too late, and the doors close. Dory comes up with a new plan: Dory and Hank get out via the sunroof of the van, and Hank throws himself onto the windscreen, making the drivers leave their seats. Hank then takes over the steering wheel with Dory in a cup beside him. She directs him, badly, through traffic. Eventually, they come to a police road block and Dory knows they’ll have to fly over it, sending the truck into the ocean. Dory convinces Hank that the ocean is the right place for him, and he agrees to do this. All the fish tumble into the sea.

We then see Marlin, Nemo, and Dory have returned home, with their new friends Destiny, Bailey, and Hank, who is substituting as the teacher at Nemo’s school whilst Mr. Ray is away on his migration, along with Dory’s parents, Jenny and Charlie. As Nemo heads off for school, Dory says she’s going to the drop-off on her own. Concerned, Marlin follows her, only to see that Dory just wanted to take in the view. They sit together and watch.

In a post-credits scene, we also see that the “tank gang” from Finding Nemo, still in their plastic bags, have made it to California and the Marine Life Institute. As they work out their next move, they are picked up by institute staff and taken inside…

CHARACTERS & CAST

Unlike in Finding Nemo, Dory is no longer the funny sidekick in Finding Dory. She’s still funny, still has short-term memory loss, and still acts impulsively, but this time she gets to do more of it as the whole story revolves around her! Throughout Finding Dory, Dory is getting flashbacks of memories from her childhood, slowly allowing her to piece together who are parents are, where she is from, and how she ended up so far away. This leads Dory on an amazing journey to find her family, taking her all the way to California. After Dory becomes separated from Marlin and Nemo, she then relies on Hank to help her find her parents in the Marine Life Institute, and adds Destiny and Bailey to that support system because Dory being Dory needs some help remembering exactly what she’s doing from time to time! Dory goes through a whirlwind of emotions on this journey but Dory finds she’s more capable than she thought and she manages to bring everyone together again, just like in Finding Nemo.

Ellen DeGeneres returned to reprise her role as Dory. This time, Dory also had two other voice actors, to voice baby Dory and teenage Dory. Baby Dory was voiced by Sloane Murray, who is the daughter of Pixar producer Lindsey Collins. Collins produced Finding Dory and went on to produce Turning Red (2022) and Elio (2025) for the company. Teenage Dory was voiced by Lucia Geddes.

At the start of the film, Marlin is perfectly content with how everything has worked out for him. He’s back with his son Nemo and he’s found a new friend in Dory. Marlin doesn’t want to go on another epic journey like he did the year before, believing Dory should just be satisfied with how life is right now, like him. But Nemo guilts Marlin into going on this journey to help Dory because that’s what friends should do. Nemo has to be the voice of reason a lot of the time in this film, telling Marlin he shouldn’t have gotten annoyed at Dory for being concerned after the squid attack, and that he needs to be more patient with people, like Dory and Becky, instead of thinking they’re going to ruin things all the time. His “relationship” with Becky the loon is quite funny actually, because she seems to like him. Marlin must have a way of attracting strange women into his life! In the end, Marlin admits that he does appreciate Dory and her “Dory ways”, especially when she comes back to save him and Nemo from ending up in Cleveland.

Albert Brooks returned to voice the character of Marlin, however, the voice actor for Nemo changed. Because of the 13-year gap between Finding Nemo and Finding Dory, it was only expected that Alexander Gould, voice of Nemo in the original movie, would not be able to reprise his role for the sequel since his voice would have changed. Alexander Gould is given a small voice cameo as one of the workers in the institute’s truck, Passenger Carl, to make up for this. Hayden Rolence was cast as Nemo.

Then, we have a collection of new characters. Hank is a grumpy octopus, sorry, septopus, who has some unresolved trauma after the loss of one of his tentacles, which he seems to suggest had something to do with an incident with a child but it’s not clear how this happened. Like everyone, Hank finds Dory and her memory loss particularly irritating, just wanting to get her tag so he can go to Cleveland. Dory takes so long to find her parents that he can’t ever have thought he was going to get that tag, but she does and Hank is left to go on his merry way. However, when Dory comes back to quarantine, Hank knows he has to help her, finding that he does like her, even with her strange quirks. I think he was actually pleased to see her come back. After stealing the truck, Hank is convinced by Dory that he doesn’t actually want to be alone forever, and that he should live in the ocean with her and her friends. He decides that would be the best option for him.

Ed O’Neill was cast as Hank, having previously voiced the character Mr. Litwak in Wreck-It Ralph (2012) for Disney. He reprised this role in the sequel Ralph Breaks the Internet (2018). O’Neill is known for his roles in television series, such as starring as Al Bundy in Married…with Children (1987-97), and more recently, as Jay Pritchett in ABC’s Modern Family (2009-20). O’Neill is set to appear in All’s Fair (2025), a new legal drama series for Hulu, starring Kim Kardashian and Naomi Watts.

Destiny is a whale shark who was childhood friends with Dory, communicating through the institute’s pipes. She stills like Dory even after all the years. Dory and Destiny pick up right where they left off with Destiny being a huge help to Dory in finding her parents, knowing exactly what exhibit she is from. Destiny also overcomes her fear of the ocean, having been in captivity for most of her life, if not all of it. She then returns home with Dory and the others to start her new no-walls life.

Destiny was voiced by Kaitlin Olson, who rose to fame with her role as Deandra “Sweet Dee” Reynolds in the comedy series It’s Always Sunny in Philadelphia (2005-present). Olson currently appears in the recurring role of DJ Vance in the series Hacks (2021-present), and stars as Morgan Gillory in the ABC drama series High Potential (2024-present) for ABC. In movies, Olson was cast as Tatiana in The Heat (2013), which was led by Sandra Bullock and Melissa McCarthy, and as Ms. Nielsen in Netflix’s Incoming (2024).

Destiny’s neighbour at the Marine Life Institute is beluga whale Bailey, who seems to be a hypochondriac as he had a head injury ages ago and became convinced his echo location was gone forever. Because of this, Destiny and Bailey have a bit of a contentious relationship, as Destiny thinks Bailey is just making a fuss and needs to get it together! She manages to convince him to try to use his echo location to get Dory through the pipes and much to Bailey’s surprise, it works. His echo location comes in quite handy in this movie. Bailey is also the one to encourage Destiny to jump out of their tanks together and leave the institute, so they both encourage each other.

Ty Burrell was cast as Bailey, and he is also known for his role in Modern Family, like Ed O’Neill. Burrell played Phil Dunphy on that show, winning Primetime Emmys for Outstanding Supporting Actor in a Comedy Series in 2011 and 2014 for his role, as well as a Screen Actors’ Guild Award in 2013. Outside of that, Burrell also voiced the character of Peabody in the animated movie Mr. Peabody & Sherman (2014), and was cast as Jean Pierre Napoleon, the French Interpol agent, in Muppets Most Wanted (2015).

For Charlie and Jenny, Dory’s parents, they spent much of Dory’s childhood trying to prepare her for life with short-term memory loss, which can be a struggle, as well as the fear that Dory may end up forgetting them because of it. After Dory goes missing, her parents search for her, but despite the length of time that has passed, they never lose hope that Dory may return to them, doing the smart thing and staying in one place instead of scouring the ocean for her. They leave out trails of shells like they used to when Dory was little, to help lead her home. They are ecstatic when Dory does come back to them and they return home with her, ensuring that they will never be separated from her again.

Eugene Levy and Diane Keaton voice Charlie and Jenny. Both have had incredible careers, so here are some highlights from their acting careers. In more recent years, Levy is known for being the co-creator and actor behind the character of Johnny Rose in Schitt’s Creek (2015-20), winning Emmy awards for Outstanding Lead Actor and Outstanding Comedy Series in 2020. His son, Daniel, also co-created the series and played David Rose. Levy played a version of himself in Season 4 of Only Murders in the Building (2021-present), and currently hosts the travelogue series The Reluctant Traveler on AppleTV+ (2023-present). Other past roles Levy may be known for are his recurring role as Noah Levenstein in the American Pie film series, and as Dr. Walter Kornbluth in Splash (1984).

Diane Keaton’s earlier roles include playing Kay Adams-Corleone in The Godfather series, as well as starring in the title roll of Annie Hall (1977), for which she won the Academy Award, the BAFTA Award, and a Golden Globe Award for Best Actress. She also starred alongside Steve Martin as Nina Banks in Father of the Bride (1991) and Father of the Bride Part II (1995), which Eugene Levy also had small cameo roles in. She was later cast as Erica Barry opposite Jack Nicholson in the romantic comedy film Something’s Gotta Give, winning the Golden Globe for Best Actress. In more recent years, she played Diane in Book Club (2018) and its 2023 sequel, with Jane Fonda, Candice Bergen, and Mary Steenburgen.

There is also Fluke and Rudder, the lazy sea lions who sit on a rock outside the institute all day, protecting this rock from odd sea lion Gerald. They are very protective of their rock, and only use it as leverage to Gerald’s pale being shooing him away. I wonder what Gerald ever did to them to make them react in this way? Gerald gets his own back though, because when Fluke and Rudder do decide to leave the rock to watch Dory’s plan with the truck in action, he takes over the rock – although I’m sure Fluke and Rudder were able to get it back from him!

Fluke was voiced by Idris Elba, who voiced characters for two other movies for Disney in 2016: Chief Bogo in Disney’s Zootopia, and Shere Khan for The Jungle Book live-action. Elba has continued to voice act, for example with his role as Knuckles in the Sonic the Hedgehog series. On television, Idris Elba appeared as Stringer Bell in The Wire (2002-08), and starred as DCI John Luther in the BBC series Luther (2010-19), for which he won a Critics’ Choice Television award, a Golden Globe award, and a SAG award. Elba also portrays Heimdall in the Marvel Cinematic Universe.

Dominic West voiced Rudder. He had previously played Detective Jimmy McNulty in The Wire, and portrayed Fred West in the British TV movie Appropriate Adult (2011), winning a BAFTA for his role. He was cast as Noah in the series The Affair (2014-19), winning Satellite Awards for Best Actor in a TV Series – Drama in 2015 and 2016. West was also cast as Prince Charles in Seasons 5 and 6 of The Crown (2016-23) for Netflix, and currently plays Lieutenant Colonel Dudley Clarke in SAS: Rogue Heroes (2022-present). Other recent roles include Dr. Chris Cox in comedy-drama series Brassic (2019-25) and Guy Dexter in Downton Abbey: A New Era (2022) and The Grand Finale (2025).

Other characters who return in Finding Dory include Crush the sea turtle, who guides Marlin, Dory, and Nemo to California, still voiced by Andrew Stanton, director of both Finding Nemo and Finding Dory, and Mr. Ray, Nemo’s teacher, who takes them to the ray migration, also still voiced by Pixar story man Bob Peterson. Another Pixar employee to voice a character here is Torbin Xan Bullock, an editor for Pixar, who voiced Gerald.

There are many cameo roles in Finding Dory too. One is Sigourney Weaver who provides the voice of the public messages at the Marine Life Institute, such as the aim of the institute to “rescue, rehabilitate, and release” creatures to the ocean. Weaver won Golden Globes for Best Actress in a Motion Picture – Drama for her role as Dian Fossey in Gorillas in the Mist (1988), and for Best Supporting Actress as Katharine Parker in Working Girl (1988). Weaver is also known for playing Ellen Ripley in the Alien franchise, as well as Dr. Grace Augustine in the Avatar films, and even Dr. Rebecca Gorin in the Ghostbusters movies. For Pixar, Weaver was the voice of Axiom in WALL-E (2008).

Then, we have Stan and Inez, the two kelp bass who try to help lost baby Dory at the start of the film. They were voiced by Bill Hader and Kate McKinnon, both former cast members of Saturday Night Live (1975-present). Hader was there from 2005 until 2013, and McKinnon from 2012 to 2022. Hader also voiced a few characters for Disney and Pixar movies, such as Fear for Inside Out (2015); J.P. Spamley in Ralph Breaks the Internet (2018); and Featheringhamstan in Lightyear (2022). He voiced the main role of Flint Lockwood in Sony Pictures’ Cloudy with a Chance of Meatballs (2009) and its 2013 sequel; and Guy Gagné in DreamWorks’ Turbo (2013). McKinnon is no stranger to voice acting either, having voiced Stella and Eva in The Angry Birds Movie (2016). She was also the voice of Miss Frizzle in The Magic School Bus Rides Again (2017-21). Both actors have appeared in numerous comedy movies, such as Hader playing Dr. Aaron Conners in Trainwreck (2015) and George Custer in Night at the Museum: Battle of the Smithsonian (2009); and McKinnon for her roles as Weird Barbie in Barbie (2023) and Morgan Freeman – not the actor – in The Spy Who Dumped Me (2018), alongside Mila Kunis.

The whole “Tank Gang” from Finding Nemo also reprise their voice roles for a special post-credits scene in Finding Dory, where they are “rescued” by employees at the Marine Life Institute after being spotted in their plastic bags, now covered in algae. This includes Willem Dafoe as Gill; Brad Garrett as Bloat; Alison Janney as Peach; Austin Pendleton as Gurgle; Stephen Rott as Bubbles; and Vicki Lewis as Deb. The voice of Jacques the cleaner shrimp was replaced by Jerome Ranft, the brother of Jacques’ original voice actor Joe Ranft, and also an employee at Pixar.

Finally, John Ratzenberger, who voiced a character in every Pixar movie up until Onward (2020), including Hamm in Toy Story franchise, and returned as a voice cameo for the studio in Inside Out 2 (2024), voiced Bill the crab in the Open Ocean exhibit.

PRODUCTION

Given the 13-year gap between Finding Nemo and Finding Dory, it might be assumed that Pixar never intended to make a sequel to Finding Nemo, at least not initially. However, it has been reported that around 2005, Disney tasked Circle 7 Animation, a division of Walt Disney Feature Animation that only lasted from 2004 to 2006, with making a Finding Nemo 2. At the time, they’d also planned to make a Monsters, Inc. 2 and a different version of Toy Story 3, as a way of using Pixar properties. Allegedly, Finding Nemo 2 was meant to see Nemo and his long-lost twin brother go on a mission to rescue Marlin from an aquarium[1].

Luckily, once Pixar and Disney came to an agreement for Disney to acquire Pixar in 2006, this animation division was shut down and these ideas were scrapped, allowing Pixar to leave the decision of what happened with Finding Nemo in the capable hands of Pixar employees, namely the movie’s director Andrew Stanton.

Stanton has admitted that rarely does he watch the movies he’s made after their release, because during the development process, movies have to be screened and watched so many times to make sure they are on the right track.

But around 2010, Stanton had to watch the 3D version of Finding Nemo to sign it off for its release. Finding Nemo in 3D was available for a limited time at theatres during 2012, for Finding Nemo’s 10th anniversary. Whilst watching, Stanton started to wonder how easily Dory could get lost again, and he began to feel worried for this character, that she might forget about her new family with Marlin and Nemo because she’d seemingly already lost her actual family. All the backstory that had been given to Dory for Finding Nemo was that she had been swimming alone in the ocean for many years before she met Marlin, and that she was probably overly optimistic and positive because her memory loss problem had caused some to abandon her, meaning Dory puts on a façade to get fish to like her and stay with her. That’s a clear reason why she got upset whenever Marlin said he wanted to continue his journey to find Nemo without her. Now, Stanton was wondering where Dory was from, what happened to her parents, and just how much could her memory deal with.

Stanton began to discuss this idea privately with co-workers, not wanting to cause mayhem at the Pixar studios with talk of “Finding Nemo 2”. Once he’d thought it over more and had a story together, focusing on Dory’s emotional memory, instead of her memory of names, locations etc., Stanton pitched it to John Lasseter, then Chief Creative Officer of both Pixar and Walt Disney Feature Animation, around early 2012. Lasseter was happy to greenlight this endeavour so Stanton hired a writer to work on the story further. I assume this writer was Victoria Strouse, credited as co-writer of Finding Dory’s screenplay. Strouse went on to co-write the movies Let It Snow (2019) and Family Switch (2023), both for Netflix[2].

Now that Finding Dory was happening, the story needed some work before locking that in and moving on to animation. This required many rewrites as well as numerous areas of research. It also required the team to push away the fear of making a sequel, which is deemed to be even harder than making an original movie because most of the characters are already there, and parameters have been set in terms of their characteristics and behaviours, so these cannot be changed. The team working on Finding Dory said they had to forget they were making a sequel and just try to make the best film they could[3].

The initial concept for Finding Dory was always going to be about Dory finding home, but how could they make that happen for a character who has short-term memory loss? This concept came from the fact that goldfish memory apparently only lasts around five seconds. Goldfish can’t “cure” their “memory loss”, so why should Dory? But not being able to remember your home is quite an obstacle to finding it, so there had to be a way of triggering Dory’s memories. In the final film, we see that Dory’s memory of her past is triggered by certain things, like seeing a shell, or hearing about an undertow. Nemo then manages to trigger a whole flood of memories when he mentions “the Jewel of Morro Bay, California”, the phrase Dory was mumbling when she was in shock from being swept away by the undertow at the ray migration[4]. This was going to be something Nemo heard while Dory was “sleep swimming”, with this sequence being completely finished and even used in the Finding Dory teaser trailer before being cut. The idea of a flood of memories is quite accurate to real-life because our memories can be recalled through something simple, like a smell or a song.

But how would Dory find her home? She’d have to cross the whole ocean to get there, and where would she even be going? In a deleted scene, an initial idea for this was that Dory would have a migratory instinct, where her fins would guide her home, this being something that Nemo had learnt about at school. Nemo and Marlin would’ve been right with Dory as she began her journey, simply following her fins. There was also a big-mouthed clam in this deleted scene who was meant to be Marlin’s nosy neighbourhood, who would tell Dory that her memory loss must be linked to some sort of childhood trauma. In the end, the character of the clam was added to the final movie, in the pond that Marlin and Nemo get into via the institute’s splash pad fountains, who just talks about himself and his sad love life! This clam was voiced by director of Finding Dory Andrew Stanton.

Another idea that appeared in an early scene that was later cut but appeared in the final film was the ray migration. Originally, Dory was meant to take Nemo to the ray migration alone, something Marlin isn’t sure about but feels guilted into agreeing to. He tells Dory to be hyperaware of her surroundings and if either she or Nemo gets separated, they should wait under a ledge. On the day of the migration, Nemo and Dory arrive together, but Dory gets distracted after seeing two blue fish who she thinks are her parents. She chases after them and then forgets what she was doing. She goes home with some other fish. Once home, Marlin asks where Nemo is and is furious to see Dory forgot about him. She couldn’t even remember taking him to the ray migration. Luckily, Nemo did as he was told and waited under a ledge until Marlin and Dory find him.

One of the more annoying character points that was quickly removed was that Dory’s parents were also going to have memory loss. This came from a line in Finding Nemo where Dory explains her short-term memory loss, saying it runs in her family, or at least, she thinks it does. This meant that Dory’s parents also forgot about her, so when Dory did eventually find home in a cut scene, she saw no-one there, and swum out to sea. Dory’s parents were told to use their fins to find their home via this homing instinct that was used in another deleted scene. They would eventually find home and Dory, with the parents apologising for not remembering her. However, it soon became clear that having three characters with memory loss was irritating, plus, having parents who can’t remember their child is not ideal! Because Dory only says she thinks memory loss runs in her family, this element of the story could be removed, simply accepting that Dory was wrong on this fact[5].

Something that Andrew Stanton had initially wanted to do with Finding Nemo was tell Marlin’s backstory about his life with Coral through the form of flashbacks, but this concept didn’t work and just made Marlin a difficult character to like. But for Finding Dory, Stanton got to experiment with flashbacks once more, for Dory’s backstory.

There were multiple different prologues that were made to open the story, revolving around Dory’s childhood. The first would’ve seen Marlin bumping into Dory as per their meeting in Finding Nemo, going all the way up to them meeting Bruce. Marlin would’ve then beaten him up and caused all the sea mines to explodes. Obviously, that never happened in the original movie and that is because this is Marlin’s parent presentation at Nemo’s school, talking about his journey to rescue Nemo. A kid asks about Dory’s family, confusing her and making her think. Marlin says Dory is part of their family and there’s no need for further questions. This led Nemo to become concerned that Dory might leave to find her family.

Another prologue showed young Dory getting lost and floating out to sea, before going to the scene from Finding Nemo of Marlin bumping into Dory whilst searching for the diver’s boat. There was also a third prologue that involved Dory’s parents’ memory loss, apparently something that affects all blue tangs. The three go on a walk together and repeat the same conversation over and over again, but when Dory chases after a fish, she gets lost. Dory kept swimming until she bumps into Marlin like in the first film. A fourth version was closer to the final film but gave away too much of Dory’s backstory, showing instantly how she got lost, i.e., by being sucked into the pipes by the undertow in her exhibit.

Finally, another set of deleted scenes was meant to include the “tank gang” from Finding Nemo, who were meant to help Marlin and Nemo get into the institute to save Dory via a series of complicated military-like plans, including riding on flying fish and loons[6].

Research in the real world was also helpful in cementing the story of Finding Dory. For example, Pixar spent a lot of time at the Monterey Bay Aquarium, south of San Francisco, and based their Marine Life Institute on the layout of this aquarium, as they’d explored public areas and backstage areas. The Marine Life Institute was decided to be the setting of Finding Dory based on clues given about Dory’s character in the first movie, like being able to read showing that she had to be somewhere near humans, and how she can speak whale, meaning she needed to be around whales at some point in her life. New characters were also added to match the location of coastal California, which is why there are otters and sea lions here[7]. Other places they went to include the Vancouver Aquarium and the Marine Mammal Center in California to get further information on what a place like the Marine Life Institute would look like.

It’s also been said that the documentary film Blackfish (2013), about orca whales in captivity and their behaviours, with a particular emphasis on SeaWorld’s duty of care, or lack thereof, to their orcas and personnel. Blackfish was a sensational documentary, containing many claims and questions that were quite damning, and was very popular on its release. The Pixar team watched Blackfish and John Lasseter and Andrew Stanton sat down to discuss it with Blackfish director Gabriela Cowperthwaite. It has been assumed that Pixar adjusted their Finding Dory story based on this documentary, suggesting that perhaps it was meant to be set in an aquatic theme park but was later changed to a rehabilitation centre, to avoid too many comparisons with parks like SeaWorld. It’s also been said that releasing the sea creatures back into the ocean was added in to the story based on this documentary[8]. Pixar hasn’t commented on exactly how Blackfish impacted Finding Dory, only saying that it was just one area of research that they undertook during the development process.

With a concrete story in place, work could begin on animating it. One thing to note is that all the work done on Finding Nemo is not simply stored in Pixar’s computers, ready to use again if needed. Everything had to be rebuilt and recreated again, however, the benefit of a 13-year gap between movies was that there had been many improvements to technology around imagery and rendering, such as Pixar adopting the new technology RIS, the next-generation of RenderMan, Pixar’s core system to render animation and visual effects. This helped deal with light in more sophisticated and accurate ways[9]. Since they knew they were going to use a replay of the scene of Dory and Marlin meeting in Finding Nemo as part of the opening sequence of Finding Dory, this was a good test to see how much could be changed from the original film[10].

There were also plenty of new sets to create as well as new characters. One of these new characters that particularly benefitted from new technology was Hank the septopus, although even then, making a flexible character on a computer was a challenge. Hank was the most complicated character that Pixar had ever made. Drawings of the character looked good but having to animated him on computer filled animators with a mixture of excitement and dread! It was exciting to see how he could camouflage and move around on land, solving the logistical problem of Dory making her way through the human world, but with all those tentacles and that squishy body, shapeshifting and changing colour, it took a while to figure him out. It apparently takes between six and nine months to create characters at Pixar, but it took over two years to work out Hank!

To research the character, Pixar workers went backstage at the Monterey Bay Aquarium to feed and interact with an octopus. They found that the suckers on their tentacles are incredibly strong, and that they like to escape in real-life, by using their tentacles to open hatches and lids, sometimes just creeping their tentacles up and over the lip of their tanks. The animators also looked to Kaa from Disney’s The Jungle Book (1967) as a reference point for animating Hank’s tentacles.

Randomly, Hank was meant to be addicted to hot sauce, and would drink it all over the park, but this became distracting, so was removed. No doubt that would’ve made the animation even harder as well! Another thing that was removed was Hank’s eighth tentacle, which helped with the animation, since they had one less tentacle to work with[11].

Pixar can’t have a movie without Easter eggs so naturally, these were included in Finding Dory. For example, A113, referencing the room at CalArts where some of Pixar’s animators studied, can be seen on Fluke and Rudder’s tags, with one saying “A1” and the other “13”. It is also on the licence plate of the institute’s truck, as “CAL A113”. The Pizza Planet truck can seen rusting away in the Shipping Lanes scene. In reference to Pixar’s next movie, a Lightning McQueen plaster can be seen on the hand of the truck driver; the Pixar movie to follow Finding Dory was Cars 3 (2017). In The Good Dinosaur (2015), the movie preceding Finding Dory, Hank was spotted in a pool of water that Arlo the dinosaur falls into.

Some other Easter eggs include the Marine Life Institute’s motorboat reading “1200 PA”, referring to the address of Pixar’s headquarters, 1200 Park Avenue. In quarantine, there is a pipe with “Seawater Supply TL59” written on to it. This is a nod to a similar pipe in the Disneyland attraction Finding Nemo Submarine Voyage, which itself refers to 1959, the original opening date of Submarine Voyage, and Tomorrowland, its location.

MUSIC

The Finding Dory soundtrack consists of mostly instrumentals from another ocean-inspired score, composed by Thomas Newman. Newman composed the score for Finding Nemo (2003), as well as WALL-E (2008) and Elemental (2023), also for Pixar.

Within the score, there is a mixture of pieces that evoke the excitement of a long-awaited journey, as well as the perils and dangers of that journey. “Finding Dory (Main Title)” is a stand-out piece within the score, as it manages to capture some of Dory’s child-like spirit and joy, and uses abstract vocals to get the feel of marine noises travelling through the sea[12].  “Lost at Sea” also has similar elements to it, as it continues Dory’s journey through the sea as a child, desperately trying to remember her parents and where they are. Elements of “Main Title” appear again in “Quite a View” for when Dory and Marlin sit at the drop-off and just take in the view at the very end of the film. Some of the music that is used for scenes at the Marine Life Institute are quite calming, matching the feeling that we get at the aquarium, where everything seems slower and more relaxed as we watch fish swimming around in their tanks. This is felt during pieces like “Sigourney Weaver” and “Open Ocean”. I also like “…Shells”, which plays when Dory reunites with her family.

I like the calmer, more emotional pieces of music in any score, but others that have a sense of threat include ones like “Hands!” for when Dory and Hank get trapped in the Kid Zone, and “Okay with Crazy” as Dory and Hank hijack the institute’s truck.

There are only two songs credited in Finding Dory and only one of these features on the official soundtrack. This is the End Credits song “Unforgettable”, written by Irving Gordon and performed by Sia. It is a cover of the song which was previously recorded by Nat King Cole in 1951, and featured on his 1952 album of the same name. I don’t really understand why Pixar chose to use “Unforgettable” as their End Credits song, other than it is a clear reference to Dory’s memory, where she has memory loss, but did not forget her family. However, I find Sia’s version of this song quite haunting, as many of her songs, especially the slower ones, tend to be. Not that I have a problem with that normally; I like a lot of Sia’s music, but I don’t think her version of “Unforgettable” fits here. I was expecting a more upbeat, positive song to end the movie, like Finding Nemo’s “Beyond the Sea”.  

The other song credited in Finding Dory is “What a Wonderful World”, written by Robert Thiele and George David Weiss, and performed by Louis Armstrong. This song was originally recorded in 1967. Here, the song is used to accompany the slow-motion sequence of the Marine Life Institute’s truck tumbling into the ocean, spilling all of the marine creatures back to their home. The song is naturally quite relaxing and calming, so it’s fun to see it combined with a scene that would actually be quite disturbing and shocking to see in person; I suppose that was the joke!

There is another small song that shouldn’t be forgotten and that is the rays’ migration song, “O, We’re Going Home”. It is sung by the group of rays as they pass by the field trip on their way home as part of their migration journey. It’s fun, it’s loud, and it lets us in on just why Mr. Ray sings so much! It is unclear who specifically performs this song, but the lyrics were written by Finding Dory screenwriters Andrew Stanton and Victoria Strouse, and Pixar story man Bob Peterson, voice of Mr. Ray.

Finding Dory’s soundtrack was not nominated for as many awards as the Finding Nemo soundtrack, not even at the Annies. However, it was nominated at the Hollywood Music in Media Awards for Best Original Score in an Animated Film, but it did not win; Alexandre Desplat’s work on The Secret Life of Pets (2016) did. Newman himself was nominated for Soundtrack Composer of the Year in 2016 at the World Soundtrack Awards, for his work on Spectre (2015), Bridge of Spies (2015), and Finding Dory, but lost out to Carter Burwell, for his music on movies like Hail, Caeser! (2016) and Carol (2015).

RECEPTION

At the 2015 D23 Expo Panel for Pixar, they spoke about The Good Dinosaur, which was to be released in November 2015, originally the release slot for Finding Dory, but both were pushed back. Finding Dory was obviously mentioned too, with Andrew Stanton, Angus MacLane, co-director of Finding Dory, on stage to discuss it. Angus MacLane had worked at Pixar since 1997, working as an animator on some of their biggest movies like Up (2009), Toy Story 3 (2010), and Finding Nemo (2003). He later directed the Toy Story spin-off Lightyear (2022), and was subsequently let go from Pixar in 2023 as part of a company restructuring. MacLane and Stanton introduced the voice actors on stage, Ellen DeGeneres, Ed O’Neill, Ty Burrell, and Kaitlin Olson, and their characters were discussed, with some footage from Finding Dory being shown to attendees.

After a premiere at the El Capitan Theatre in Los Angeles on 8th June 2016, Finding Dory was widely released in the US on 17th June 2016, making its way to other countries over the following months. Unlike Finding Nemo, Finding Dory was released in both IMAX and 3D at the time of its initial release. The new short Piper (2016), about a little sandpiper trying to balance eating with a fear of drowning, learning how to act like a hermit crab in the process, was released alongside Finding Dory. It is one of three shorts at the Disney & Pixar Short Film Festival attraction in Epcot at the Walt Disney World Resort.

Finding Nemo has made around $940 million at the box-office worldwide, over two releases. It was the most successful animated movie of all time until Toy Story 3 in 2010. How would Finding Dory do? Early signs were incredibly positive as Finding Dory raked in $136.2 million in its domestic opening weekend. The global opening for that weekend increased the figure to $186.2 million, and the movie had $200 million by the end of its first week, with many international markets, like the UK and Germany still waiting for the movie.

Finding Dory broke records for: the opening weekend for an animated movie; the largest single day for an animated movie; and the largest opening day for an animated movie. It also beat the domestic opening weekends of all previous Pixar movies, including Toy Story 3 with $110.3 million and 2015’s Inside Out with $90.4 million. It even beat Disney Animation’s recent hits of Zootopia (2016), with $75.06 million, and Frozen (2013) and its $67.39 million[13]. Finding Dory crossed the $1 billion mark on 9th October 2016, becoming only the second film in Pixar history, after Toy Story 3, to reach this figure. It settled at $1.029 billion. Finding Dory was only the fifth animated film to take $1 billion of box-office revenue, after Frozen (2013), Minions (2015), and Zootopia, and Toy Story 3[14]. It peaked at No. 4 on the list of highest-grossing animated films at the time.

With help from Finding Dory, as well as a whole list of other movies Disney released in 2016, including Captain America: Civil War, Zootopia, and the remake of The Jungle Book, the studio crossed the $2 billion mark at the domestic box office on 16th July 2016. A week earlier, Disney surpassed the $5 billion mark globally, and crossed $3 billion in international grosses on 6th July 2016. In the second-half of 2016, they also released Pete’s Dragon, Doctor Strange, Rogue One: A Star Wars Story, and Moana, so even more money was awaiting them by the end of the year[15].

Finding Dory was met with mostly positive reviews, who enjoyed the beautiful animation, and the new characters and voice cameos. Hank was considered to be a fun new sidekick, and many liked how the movie had deepened Dory, making her more of a sympathetic character with those adorably cute childhood scenes. It was funny, moving, charming, and warm, as we’d all expect from Pixar. It was considered to be a sequel that worked for the majority of viewers.

But you can’t please everyone, and this being a sequel meant it was always open to scrutiny and comparison. It is no secret that Finding Dory follows a similar story to that of Finding Nemo, and for some, that simply isn’t enough to warrant a sequel. That didn’t bother me with Finding Dory because I liked the new setting, but I can understand this opinion. Others said it was just not as good as Finding Nemo and was pretty unnecessary.

This sentiment could be seen as being reflected in awards season as Finding Dory did not receive as much acclaim as Finding Nemo did. For example, Finding Nemo won the Academy Award for Best Animated Film, and cleaned up at the Annie Awards. In comparison, Finding Dory was not even nominated for Best Animated Feature Film at the Oscars, although Disney’s Zootopia and Moana were, with Zootopia winning. Piper, the short Pixar film that accompanied Finding Dory in theatres, did, however, win Best Animated Short Film here. At the Annie Awards, Finding Dory was nominated for Best Animated Feature but once again lost to Zootopia. It was also nominated for Outstanding Achievement in Character Animation, and Storyboarding, but lost to Jan Maas for Kubo and the Two Strings, and Dean Wellins for Zootopia, respectively. Piper once again won Best Animated Short Subject though. But, at the Saturn Awards, Finding Dory did win Best Animated Film. 

Finding Dory won other awards, including Favorite Animated Movie at the 2017 Kids’ Choice Awards and Ellen DeGeneres won Favorite Voice for Dory. The ensemble cast won the #Squad award here. At the Teen Choice Awards, Finding Dory won Choice Movie: Summer, and Ellen DeGeneres won for Choice Movie Actress: Summer. The film also won Favorite Movie and Favorite Family Movie at the People’s Choice Awards. DeGeneres won for Favorite Animated Movie Voice once again. I guess this shows that Finding Dory was not considered the amazing animated feat that Finding Nemo was but that it was still popular.

LEGACY

After Finding Dory was released, a short movie called Marine Life Interviews was released exclusively on the Finding Dory Blu-Ray. It is similar to Aardman Animations Creature Comforts, where the animals are being interviewed, answering questions about their time with Dory. Outside of that, there have been some other short episodes of Disney+ series themed to Finding Dory. One is an episode of Pixar: In Real Life, released in 2019, where the scene of Hank and Dory using a stroller to get round the Marine Life Institute is recreated in real life. Another is a Pixar Popcorn episode, from 2021, where Dory finds different trinkets on the ocean floor; and a LEGO Pixar: BrickToons short, titled Field Trip from 2024, showing LEGO versions of the characters going on a school field trip to a shipwreck. There is also talk of a National Geographic series called The Real Finding Nemo, announced at the end of 2024. This will follow in the footsteps of the A Real Bug’s Life series.

The Disney Parks have been representing the characters of Finding Nemo ever since its release in 2003, in parades, shows, and attractions. So, some of these experiences already existed before Finding Dory was released in 2016, but others opened later, and there are some experiences that were revamped to include characters from Finding Dory.

For example, at the Walt Disney World Resort in Florida, The Living Seas pavilion at Epcot closed in August 2005, reopening as The Seas with Nemo & Friends alongside a new attraction and updated aquarium space in January 2007. Here, there is the interactive show Turtle Talk with Crush, which opened in 2004. It uses a mixture of digital puppetry, image projection, and improvisation by an actor in real-time to make guests feel like they are having a conversation with fan-favourite Finding Nemo character Crush the sea turtle. Children can even ask Crush questions. A version of Turtle Talk with Crush exists at Disney California Adventure Park at Disneyland, opening in July 2005, and at Tokyo DisneySea in October 2009, which opened in October 2009. A similar show also exists at the Animator’s Palate restaurant on the Disney Cruise Line, and Walt Disney Imagineering even donated a Turtle Talk with Crush unit to the Children’s Hospital of Orange County in California in 2013. Ahead of Finding Dory’s June release date, characters like Dory, Destiny, Bailey, Hank, and Squirt were added to the shows at Walt Disney World, Tokyo Disneyland, and Disneyland[16]. Due to the live nature of this show, Turtle Talk with Crush will be different every time you watch.

At Disney’s Animal Kingdom Park at Walt Disney World, Finding Nemo – The Musical opened at the Theater in the Wild on 24th January 2007. Finding Nemo – The Musical was a roughly forty-minute show, featuring live actors and elaborate puppetry. Finding Nemo – The Musical closed in 2020 for the COVID-19 pandemic closures. When it reopened in June 2022, the show reopened as Finding Nemo: The Big Blue…and Beyond! This show is now about 25 minutes long, and includes an opening sequence relating to the Marine Life Institute in Finding Dory, complete with Sigourney Weaver’s narration. Here, we see the Tank Gang from Finding Nemo getting ready to be released back into the ocean after a stay at the institute – they were picked up by institute workers at the end of Finding Dory – and them explaining how they got there, taking us back to the events of Finding Nemo. Some songs were cut from the original musical, including my favourite song, and more of the story was condensed. The ending of the musical sees the Tank Gang released from the institute and finding Nemo to see how he’s getting on at home. There is also a golden statue of Nemo and Dory at this park, as part of the Fab 50 Character Collection installed throughout Walt Disney World for the resort’s 50th anniversary in 2021.

There is also a Walt Disney World hotel that features suites and courtyards themed to Finding Nemo, alongside those themed to The Lion King (1994), Cars (2006), and The Little Mermaid (1989). This hotel is Disney’s Art of Animation Resort, which officially opened on 31st May 2012, becoming Walt Disney World’s 26th resort. The Finding Nemo suites opened first on 31st May with décor to match the movie’s settings and the main pool area of the resort is based on the film.

Speaking of hotels, at Disneyland, their newly renovated Pixar Place Hotel opened in January 2024, along with a new pool area, which is themed to Finding Nemo and Finding Dory and their characters. It consists of a splash pad area called Nemo’s Cove, and Crush’s Surfin’ Slide. Pixar Place Hotel itself is themed to Pixar and its movies, so you may find some Finding Nemo or Finding Dory artwork or Easter eggs when exploring the space.

Outside of that, Pixar Pier, which opened at Disney California Adventure in June 2018 as a retheme of Paradise Pier, has a few references to Finding Nemo and Finding Dory including a billboard featuring Gerald, Fluke, Rudder, the sea lions, and Dory. The Pixar Pal-A-Round Ferris wheel attraction here also has character-themed gondolas, with Dory and Nemo just two featured Pixar characters. At the Lamplight Lounge restaurant, you may also see some small references to the artwork of Finding Nemo and Finding Dory. Sadly, since the characters of these movies cannot walk around the park unlike other Pixar characters, they were not referenced much at Pixar Fest here in 2024, but they were included as projections for the Together Forever fireworks show during this festival.

At Disneyland, along with Turtle Talk with Crush, the biggest Finding Nemo addition to Disneyland was the reimagining of the Submarine Voyage ride at Tomorrowland in the original Disneyland Park. Submarine Voyage opened in 1959. Finding Nemo Submarine Voyage opened in June 2007. Finding Nemo Submarine Voyage now follows the story of visitors helping Marlin and Dory find Nemo once again and characters from the movie are projected into the water scenes, similarly to The Seas with Nemo & Friends attraction, at points throughout the ride[17]. Dory and Nemo were also added to it’s a small world here.

Outside of the US, there are some other Finding Nemo and Finding Dory attractions and experiences. At Disneyland Paris, specifically at the Walt Disney Studios Park – soon to reopen in 2026 as Disney Adventure World – in the Worlds of Pixar area is Crush’s Coaster, a thrilling, spinning rollercoaster, taking you through moments from the film, including the sharks’ shipwreck and a ride through the EAC. It opened in June 2007. At Shanghai Disneyland, there is a play area called the Junior Explorers Camp at Adventure Isle with an area themed to Finding Nemo. Two other areas are themed to The Lion King and Up (2009). At Tomorrowland in Shanghai Disneyland, there is an interactive exhibit called Pixar Adventurous Journey, with exhibits themed to different Pixar movies. One is Finding Nemo.

At Hong Kong Disneyland, there used to be a Turtle Talk with Crush attraction, however, it was only open through the summer of 2008, and did not return. However, you can see Nemo, Dory, and Peach the starfish within the it’s a small world attraction there. At the Disney Explorers Lodge Hotel, there is also a children’s indoor play area themed to Finding Nemo called Nemo’s Recreation Reef. At Tokyo Disneyland, along with their version of Turtle Talk with Crush, a new attraction, Nemo & Friends SeaRider opened at Tokyo DisneySea in 2017, taking over the space previously used by StormRider. This ride is a simulator attraction and takes guests through the Marine Life Institute in a submarine, experiencing moments from the movie and new scenes. You can also see Nemo, Marlin, and Dory within the it’s a small world attraction.

For parades and shows at the Disney Parks, Finding Dory specifically has been used less frequently than Finding Nemo, although a clip of baby Dory with her parents was used in the revamped nighttime show for Disney’s Animal Kingdom, Rivers of Light: We are One back in 2019. This show no longer exists. This same image is used for the Momentous nighttime show at Hong Kong Disneyland, which seems to still be running. Finding Nemo characters are still used in Disney Stars on Parade at Disneyland Paris, with a whole float featuring the characters of Finding Nemo, including Crush, Dory, Bloat, and of course, Nemo. Previous versions of World of Color at Disney California Adventure included clips from Finding Nemo, and Nemo even flew over Disneyland’s Sleeping Beauty castle during the Disneyland Forever fireworks back in 2015 for the park’s 60th anniversary celebration.

On the Disney Cruise Line, there is the Nemo’s Reef water play area on the Disney Fantasy and Disney Dream. On the Disney Wish, Disney Treasure, and Disney Destiny, “Go with the Flow”, from Finding Nemo – The Musical, is performed as part of the Disney Seas the Adventure musical stage show. You can even experience a version of Turtle Talk with Crush at Animator’s Palate on some ships.

Pieces of merchandise have been available over the years since Finding Dory’s release, including toys, clothing, and pins. Finding Dory has not yet reached a milestone anniversary, with its 10th anniversary being in 2026, so Finding Nemo merchandise is more frequently available.

As Pixar continue to announce upcoming sequels to popular properties, I’m sure many are expecting the announcement of a third Finding Nemo movie. Initially, director Andrew Stanton joked that he was too tired to think about making a third film, whereas Ellen DeGeneres said she would consider it if the story for a third movie was good enough. She thought it could be something about new character Hank the septopus. However, in 2024, DeGeneres was asked about whether she would do a third Finding Nemo movie and she categorically said she would not. Yet Pixar said around this time that there were some ideas for a third film. Many fans don’t think there is anywhere they can go with this franchise now, as Finding Dory was incredibly similar to Finding Nemo, and if Dory isn’t going to return with Ellen DeGeneres, they may as well not bother, in my opinion.

FINAL THOUGHTS

Back in 2016, after an amazing year for The Walt Disney Company and their movies, Pixar apparently made an announcement saying they would not be making any more sequels. Since Disney’s record-breaking year encompassed a variety of sequels alongside original movies, this announcement was a bit of a surprise, and is even more surprising to us now, because all anyone wants to make is sequels!

In this case, Pixar said they were misquoted, and simply meant that they had just done a couple of sequels and they had lots of original movies in the works. They reiterated that they only make sequels if the story is good enough and the studio want to do it[18].

Now, I don’t have a problem with the occasional sequel, and Finding Dory was a pretty great one for me, but sequels at Disney and Pixar are getting just a little bit silly now. They’ve actually only made four since Finding Dory, but with the difficult movie-going landscape right now, studios are taking comfort in sequels to bring in those audiences, so they can make some decent profit from these very expensive animated films.

It seems like 2016 was really the start of this sequel-making world we live in, and it has only increased after the COVID-19 pandemic and economic troubles caused many of us to rely on streaming services instead of movie theatres to watch new films.

Finding Dory might have seen Dory reconnect with her family, but it seems to have signalled a disconnect between studios, filmmakers, and their audiences. Sure, sequels make a lot of money if promoted well and have the backing of an audience already, but do too many, and you risk alienating the public.


REFERENCES

[1] Credit: The Disney Classics, ‘Circle 7 Animation (Pixaren’t)’, TheDisneyClassics.com, 4th September 2021.

[2] Credit: Marina Draskovic, ‘Director Andrew Stanton Brings Dory Back’, D23.com, 17th June 2016.

[3] Credit: Zach Johnson, ‘The Making of Finding Dory: Why It Took 13 Years to Make the Finding Nemo sequel’, EOnline.com, 18th October 2016.

[4] Credit: Pixar, “What Were We Talking About?”, from Finding Dory (2016) UK Blu-Ray (2016).

[5] Credit: Matt Singer, ‘Andrew Stanton And Lindsey Collins On ‘Finding Dory’, Making Sequels, And What They Learned From Steve Jobs’, ScreenCrush.com, 14th June 2016.

[6] Credit: Pixar, Deleted Scenes (2016), Disney+.

[7] Credit: BFI, ‘Pixar directors reveal Finding Dory animation secrets’, BFI.org.uk, 19th July 2016.

[8] Credit: Amy Kaufman, ‘‘Blackfish’ gives Pixar second thoughts on ‘Finding Dory’ plot’, LATimes.com, 9th August 2013.

[9] Credit: Disney, ‘Technology Enhances “Finding Dory” Filmmaking Process’, TheWaltDisneyCompany.com, 21st June 2016.

[10] Credit: Matt Singer, ‘Andrew Stanton And Lindsey Collins On ‘Finding Dory’, Making Sequels, And What They Learned From Steve Jobs’, ScreenCrush.com, 14th June 2016.

[11] Credit: Pixar, “The Octopus That Nearly Broke Pixar”, from Finding Dory (2016) UK Blu-Ray (2016).

[12] Credit: Pixar, ‘Dory’s Theme I Finding Dory (2016) Bonus Feature’, Capivaronator YouTube Channel, 28th May 2024.

[13] Credit: Simon Thompson, ‘Why ‘Finding Dory’s Massive Box Office Makes A Third Film Inevitable’, Forbes.com, 23rd June 2016.

[14] Credit: T.J., ‘‘Finding Dory’ Crosses $1 Billion in Worldwide Box Office Revenue’, PixarPost.com, 10th October 2016.

[15] Credit: Disney, ‘Disney Hits 2016 Box Office Milestones in Record Time’, TheWaltDisneyCompany.com, 18th July 2016.

[16] Credit: Jim Korkis, ‘A Friday Visit with Jim Korkis: Turtle Talk with Crush’, YourFirstVisit.net, date unknown.

[17] Credit: Pixar, ‘Reinventing the Submarine Voyage I Finding Nemo’, Special Features Archive YouTube Channel, 16th March 2025.

[18] Credit: BFI, ‘Pixar directors reveal Finding Dory animation secrets’, BFI.org.uk, 19th July 2016.

#5 Finding Nemo (2003)

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

BACKGROUND

Disney Animation might’ve been the king of hit animated movies in the 1990s, but by the 2000s, their crown had slipped – and it moved on over to Pixar. 

Yes, Disney was struggling in this particular decade and wouldn’t recover until 2010. DreamWorks was another animation studio around at the time but their movies felt quite different to Disney and Pixar’s in terms of their level of humour.

Pixar benefited from Disney’s issues as their brand was centred around creating wholesome entertainment for all the family to enjoy, just like Disney. Pixar liked to make movies based on human emotion and experience but set in new fantastical worlds. Pixar had the added bonus of being the masters of computer animation, something most studios were still trying to get to grips with. It’s also worth remembering that Disney had an agreement with Pixar to distribute their movies, so both studios were feeling the financial benefit, even if Disney’s own films were taking the brunt of reviewers’ criticism.

In 2003, after making hit after hit, Pixar returned with their latest outing, Finding Nemo, a story of a father fish’s difficult journey through the ocean to save his son from the confines of a dentist’s fish tank. 

Little did the filmmakers know at that time that not only was Finding Nemo going to be a record breaker and the fifth successive smash hit for the studio, but that this film would become a classic in the years since its release, still being talked about and praised by both critics and regular audiences.

I can’t remember if I watched Finding Nemo at the cinema with my family when it came out but I probably did; I was the right age for it. I mostly remember watching it on DVD a lot but rarely, if ever, was it my decision to watch it. I don’t particularly enjoy the story, partly because of the fact so many movies follow people on journeys, with varying levels of success. It can get quite samey very quickly when you’re simply watching characters get into scrapes at different points, meeting strange creatures on the way.

Despite my lack of love for this film, I can still appreciate its artistry and its casting, understanding why many others have proclaimed Finding Nemo as a masterpiece. I will also happily say that I find Finding Nemo to be very funny, as I do with so many other Pixar films. They have a type of humour entirely their own. 

PLOT

Finding Nemo begins with a clownfish couple, Marlin and Coral, who are getting ready for their hundreds of eggs to hatch. They are excited to be parents, and are talking about names for their children. Marlin believes most should be called either Marlin Jr. or Coral Jr., but Coral likes the name Nemo. Marlin agrees to allow one to be called Nemo. Suddenly, the two notice that the reef around them has gone silent – and that is because a barracuda is about. Coral fears for the safety of her eggs so swims down to protect them, however, the barracuda follows her. Marlin attempts to stop it, but is knocked unconscious. When he regains consciousness, Marlin is devastated to find that Coral and their eggs have gone. Searching around, Marlin finds one of their eggs has survived. Marlin vows to call this one Nemo and will protect this son at all costs, not letting anything happen to him.

Some time has now passed and Nemo is excited for his first day at school. Marlin is not so excited, and is feeling very overprotective, as he is every day of Nemo’s life! All the way to school, Marlin tells Nemo to check the coast is clear before leaving their anemone home, tells him to “hold his fin”, and not swim off. When they arrive at the school “grounds”, Marlin talks to some other parents, who try to calm his fears. Nemo’s teacher, Mr. Ray, a stingray, then arrives. Nemo is welcomed as a new student, but before they can leave for the day, Marlin quickly mentions Nemo’s “lucky fin”, the smaller fin that he was born with, worried that Nemo may struggle with swimming during Mr. Ray’s class. Mr. Ray tells him not to worry and the class leave. Marlin then hears from the other parents that they are going to “the drop-off”, and freaks out, chasing after them.

The class arrive at the drop-off, and whilst the rest of the class listen to Mr. Ray’s teachings, the three children of the parents Marlin was talking to walk off to the edge of the reef, so they can see the real drop-off of the seabed. Nemo goes with them. They see a boat in the distance, incorrectly referring to it as “a butt”. They start to dare each other about who can touch “the butt”, but when it is Nemo’s turn to swim out, he doesn’t want to. However, Marlin comes in at just that moment and is furious with Nemo for putting himself in danger, despite the fact he wasn’t going to do it. Marlin tells Nemo he simply isn’t ready for school and won’t be coming back. Nemo tells his dad he hates him. Mr. Ray comes over to resolve the issue, but as the adults talk, Nemo tries to prove a point to his dad by swimming out to sea. Everyone turns around and is shocked to find Nemo right up against the boat. Marlin warns Nemo not to even think about touching that boat, but Nemo defiantly does. Nemo starts to swim back; however, a diver appears right behind him. This diver puts Nemo into a bag and swims back to his boat. Another diver takes a photograph of Marlin, with the flash dazing him. Marlin tries to swim after the boat but can barely see a thing. The boat starts up its engine and pushes Marlin further away from it. The diver’s mask drops into the ocean.

Marlin tries to follow the boat, but even on the surface, he can’t see the boat anywhere near him. He attempts to ask other fish for help but they ignore him. He then swims right into blue tang Dory. Dory claims to have seen a boat and tells Marlin to follow her. After swimming for a bit, Dory starts to swim erratically, and then confronts Marlin, asking why he is following her. Marlin is confused by this, telling Dory she said she was taking him to the boat. Dory then starts the conversation again, leading Marlin to believe she’s crazy and says they’ve already had this conversation! Dory explains she has short-term memory loss and forgets things almost instantly. Marlin tells Dory she is wasting his time, and goes to leave. Instead, he swims right into great white shark Bruce. Bruce invites the two of them to a “party”. Marlin is immediately suspicious but Dory happily agrees to go. They don’t really have much choice anyway, and Bruce leads the two to a wrecked ship. At the ship, two other sharks are waiting for them and Marlin fears he’s about to be eaten…

But this turns out to be a support group meeting for the sharks, who are attempting to give up eating fish, with their motto being “fish are friends, not food”. At this meeting, Bruce and his friends Chum and Anchor have been tasked with bringing a fish friend to their meeting today. Chum has “misplaced” his friend, actually having eaten it, and Bruce offers Marlin instead, since he brought both Marlin and Dory. The meeting can now start. Bruce says it has been three weeks since he has eaten a fish, and opens up the (sea)floor to anyone else. Dory swims up and says she doesn’t believe she has ever eaten a fish. Marlin is then told to introduce himself to everyone. Marlin starts by saying his name and that he is a clownfish. Whenever someone hears or sees Marlin is a clownfish, they always ask for a joke, as the school parents did, and now the sharks want a joke too. However, Marlin isn’t good at joke-telling and is distracted by a mask in the distance, recognising it as the mask of the diver who took Nemo. Marlin explains the story to the sharks, and Dory comes over to take a look. It has writing on it, so she wants to ask the sharks if they can read it. The two fight over the mask, and it hits Dory in the nose, causing it to bleed. Bruce then smells the blood and reverts back to his predatory nature.

Bruce chases after Dory and Marlin, who swim away quickly, still holding the mask. They get to a dead end, but Dory manages to read the word “escape” and they find a way out of the wrecked ship. They soon find themselves trapped somewhere else though, and the mask has ended up in Bruce’s mouth. Dory finds that the area they are in holds torpedoes and sets one off. It hits Bruce in the mouth, freeing the mask, as well as Dory and Marlin. Bruce throws the bomb from his mouth. He soon comes to his senses again when he realises that bomb is heading right for the sea mines surrounding the ship. They swim away as multiple mines detonate and everything around them explodes.

Back with Nemo, we discover he has been placed in a dentist’s fish tank, with this dentist being the diver, who believes he was saving Nemo from the reef as he was swimming all alone out there. Nemo is terrified about being here, but his fellow “tank mates” soon introduce themselves. They include Bloat the pufferfish, Peach the starfish, and Gill the Moorish idol fish. Nemo is also introduced to Nigel the pelican. The fish soon discover that the dentist has saved Nemo as a birthday present for his niece, Darla. The tank fish are horrified, knowing Darla killed another fish by shaking its bag. Nemo has to get out of there.

Meanwhile, Dory and Marlin have fallen asleep in the mask, which is hanging precariously on the edge of the wrecked ship. The ship starts to move and Marlin wakes Dory. As the two fear being squished by this boat, they drop the mask. The boat settles on an edge, leaving them unharmed. But Marlin wants that mask back – and it fell a really long way down… Dory tries to encourage him to swim into the darkness, by telling him to “just keep swimming”. Soon enough, all the light has vanished. They then come across a random light in the sea. Entranced, they swim right up to it – before realising it is the light of an anglerfish! Marlin and Dory swim away, but Marlin spots the mask on the sea floor. He realised Dory could read on the ship and asks her to read the mask, while he distracts the anglerfish. Dory successfully manages to read the mask, just in time for them to get eaten! Dory and Marlin wait for their deaths – until they realise nothing has happened, because the anglerfish has gotten caught in the mask! They’ll have to leave it there, but thankfully, for once in her life, Dory has remembered what was written on the mask: an address. They need to get to “P. Sherman, 42 Wallaby Way, Sydney”.

That night, in the dentist’s tank, Nemo is woken up by Jacques, a cleaner shrimp, who takes him to the volcano in the tank. Nemo hears the other fish chanting as he is led to the top of the volcano, named “Wannahockaloogie” – get the joke? Gill leads Nemo in his “initiation” into their gang. He is told to swim through the “Ring of Fire”, just the volcano’s bubble eruption. Nemo does so easily. Gill dubs him “Brother Sharkbait” and tells them of his escape plan: to block the tank’s filter so the dentist will have to clean the tank, and get them out to do so. In their bags, they can roll right out the window and down to the harbour.

Back in the ocean, Dory is pleased with herself for remembering the address, repeating it so many times to ensure she doesn’t forget it. Marlin sees a school of moonfish and goes to ask them for directions but they won’t stop and listen to him. Marlin then says to Dory that he wants to go on alone. Dory gets upset and starts to cry, alerting the school of fish who accuse Marlin of upsetting her. The fish start to play charades with Dory in a bid to cheer her up, but Marlin keeps guessing the answers instead, annoying them. The fish do an impression of Marlin, which upsets him and he swims away. Dory explains that he has lost his son and they are trying to get to Sydney. The fish happily tell them the way to get there. They’ll have to ride the East Australian Current, but first, they’ll come across a trench. At this trench, Dory is told specifically to go through it, not over it. Dory thanks them and they head off. At the trench though, Marlin doesn’t like the look of it, seeing it as a way to certain death. He wants to go over it, and won’t listen to Dory’s instinct they should go through it. Marlin distracts Dory, telling her something shiny went over the trench so they start to swim over it. At the top, Dory comes across a tiny jellyfish, who stings her. Marlin bats it away and says thankfully, it was only a little one. However, they are soon surrounded by hundreds of jellyfish. See, Marlin; that’s why you weren’t supposed to go over the trench. Marlin doesn’t believe there is a way through, until he sees Dory bouncing on the top of them. He comes up with a game, a race to get through the jellyfish by only bouncing on them. Dory and Marlin get really competitive and Marlin races ahead, getting through easily. He then notices Dory is not with him, and heads back in to find her. Dory has been stung numerous times and is trapped. Marlin swims right into the jellyfish’s tentacles and saves Dory, getting her out. But both pass out from their stings and begin to float to the bottom of the ocean…

At the dentist’s office in Sydney, the dentist leaves the room, giving the fish the perfect chance to enact their plan. Nemo swims through the filter, and is passed a pebble from the tank. He pushes the pebble into the rotating gear, which jams the filter. Nemo then swims up the tube above the gear to get back to the tank. However, just when everyone thinks it’s done, the pebble moves out of the gear and the filter starts up, sucking Nemo right into the gear. Gill grabs a piece of foliage from the tank and stuffs it up the tube with the help of the others. Nemo manages to grasp it with his teeth and is pulled through. Peach tells Gill not to make Nemo do that again. Traumatised by his own near-death escape, where Gill landed on dentist tools, scarring himself and cutting his fin, he says he won’t.

Marlin wakes up, and is surprised to find himself on the shell of a turtle named Crush. Crush tells Marlin they all saw how he “took on the jellies”, making him an instant legend. Marlin says he needs to get to the East Australian Current and is told by Crush he’s already there. He then asks about Dory, who he sees on a turtle shell below. He goes to her, believing she’s still unconscious. It turns out she’s just playing hide and seek with the younger turtles, who all want to know about Marlin and the jellyfish. This story is then passed through the creatures of the ocean, eventually getting to Nigel the pelican, who manages to tell Nemo that his dad is coming to get him. Motivated by this, Nemo enacts the plan to block the filter again, whilst nobody is watching. As the others notice what Nemo is trying to do, they grab a plant again and tell Nemo to grab it. But everything’s fine; Nemo has already jammed the filter and gotten back. Now, all they have to do is wait for the tank to get dirty!

In the current, Dory and Marlin have reached their exit, and Crush’s son, Squirt pushes them out at the right point, and they ride the current out. Marlin asks Crush how old he is, so he can tell Nemo. Crush is 150 years old “and still young”. Dory and Marlin then just swim straight. After a while, they don’t seem to be getting anywhere and only see one fish in the distance. Dory wants to ask the fish for directions, and realises it is actually a whale. Dory starts speaking whale, but it swims away from them. As they work out what to do next, the whale swallows them. In the whale’s mouth, Marlin starts to lose hope of ever seeing Nemo again. They then see the water level decreasing in the whale’s mouth. Dory “asks” the whale what is going on and she says it wants them to go to the back of the throat. Marlin doesn’t trust the whale not to eat them, so hangs on to the whale’s tongue. Dory wants to follow the instructions and falls down, but Marlin grabs her fin at the last minute. Dory tells him to trust her for once. Eventually, he does and they drop – only to be freed from the whale via its blowhole. They also discover the whale has taken them right to Sydney Harbour.

Yet things aren’t going so well at the tank. Although it got dirty, the dentist installed a new filter overnight so the fish wake up to find it spotless without them being removed. The dentist then tries to fish Nemo out with a net, but the others dive in and swim down, taking the net with them. Nemo is fished out in a bag instead, and left in a box so he can’t roll.

In the harbour, Marlin and Dory look for the diver’s boat but are picked up by a pelican. Marlin refuses to be almost swallowed twice today, and sticks in the pelican’s throat. Nigel sees this pelican choking, because two fish are on his tongue. The pelican spits Dory and Marlin out. Nigel then hears Marlin talking about finding his son and realises he is Nemo’s dad. He wants Marlin and Dory to jump into his mouth but Marlin doesn’t want to do that. They are surrounded by seagulls. Nigel explains that he knows where Nemo is, but the excitement makes Marlin jump up and the seagulls swarm. Nigel grabs Marlin and Dory and flies away from the gulls, leading them on a chase through the harbour.

At the dentist’s office, Darla has arrived and she’s worse than Nemo had imagined, so he plays dead in his bag, believing that the dentist will flush him down the toilet, and the pipes will take him to the ocean, like Gill said. The dentist goes to put him in the bin instead. Nigel arrives at this point, and Marlin forces him into the room, causing chaos. Marlin then sees Nemo in the bag and believes he’s dead. Nigel is forced out of the room and takes Marlin and Dory back to the harbour. Back in the office, Nemo thought he heard his dad so stops playing dead. Darla picks up the bag and starts to shake it, causing Gill to use their tank volcano to launch him onto her head, getting her to drop the bag. The bag breaks on the dentist tools and both Gill and Nemo land, gasping for breath. Gill manages to propel Nemo into the toilet, and Gill is returned to the tank, pleased to have saved Nemo.

Nemo goes on a journey back through the ocean, calling for his dad. Marlin has gone on back home alone, leaving Dory lost. Nemo sees Dory and explains what happened to him. Dory doesn’t twig that this is Marlin’s son though and says she thought she was looking for someone too. Nemo says they can look together. After a minute or two, Dory does actually remember that Nemo is who they were looking for! She asks nearby crabs to tell her where Marlin went, using the surface seagulls to persuade him to tell her! They follow the same direction and Marlin eventually hears Nemo calling. But the reunion doesn’t last long, as Dory is caught in a fish net with hundreds of other fish. Nemo has an idea to save her and goes into the net, telling Marlin to get all the fish to swim down together. Marlin agrees to help, though concerned he’ll never see his son again. The fish are confused initially but work together to swim down, moving the net lower to the ocean floor. The net crashes down, freed from the boat, and the fish swim out. Dory is fine, but left on the bottom of the net is an unconscious Nemo. Marlin swims to him, and he regains consciousness. Marlin then tells Nemo all about his journey, and how he met a 150-year-old sea turtle. They all go home.

At home, Dory has joined the sharks in their bid to not eat fish, and Marlin has become calmer, even being funny for once! Nemo is back at school, and Squirt has joined as an exchange student. Marlin waves goodbye to his son for the day, and Nemo quickly swims back to hug him, saying he loves him. We also learn that the tank fish have broken the dentist’s new filter and had to be removed in plastic bags. They have managed to roll themselves down the harbour and into the sea, pleased with themselves – but wondering what they do now!

CHARACTERS & CAST

Marlin is an incredibly overprotective father, wanting to keep Nemo from harm at all costs. This is because Nemo is his only son, and he has firsthand experience of just how dangerous the ocean can be. He wants Nemo to be safe. Yet this causes friction between him and his son, as Nemo believes his dad doesn’t believe he is capable of looking after himself, even during a day at school. It’s because of this argument that Nemo even swims out to the boat in the first place, trying to prove to his dad that he is fine on his own. If they hadn’t had that conversation, I don’t think Nemo would’ve been taken by the diver. Because of this guilt, Marlin realises he has to put his fear about the ocean aside to rescue his son, knowing the fear of losing him is much worse than anything he’ll experience out at sea.

Albert Brooks was cast as Marlin. Brooks made his acting debut in Taxi Driver (1976), being cast as Tom. He went on to appear as Aaron Altman in the comedy-drama Broadcast News (1987), for which he was nominated for Best Supporting Actor at the Academy Awards.  For voice work, Brooks had voiced a few characters in episodes of The Simpsons (1989-present), leading to him voicing the character of Russ Cargill in The Simpsons Movie (2007). In more recent years, Brooks has been cast as Bernie Rose in the Ryan Gosling film Drive (2011), and was the subject of the documentary Albert Brooks: Defending My Life in 2023. He is set to appear as Governor Bill in Ella McCay (2025).

Dory is the complete opposite of Marlin, not having any fear, perhaps because she can’t remember what fear even feels like, thanks to her short-term memory loss. Dory doesn’t seem to know where she’s going in life so Marlin’s quest gives her a purpose, and something useful to do. She is initially annoying to Marlin, with her forgetfulness and obsession with singing and repeating things over and over again! Dory likes Marlin’s friendship though, seemingly not remembering where her friends are, and doesn’t like the idea of Marlin leaving her, as he tries to do numerous times on their journey, due to his worry about Dory’s unpredictable behaviour. Dory is easily the funniest character in Finding Nemo, and the movie wouldn’t be the same without her. She is the comic next to Marlin’s “straight man”, with their bouncing off each other leading to many good moments and quotable lines.

Dory was voiced by comedian Ellen DeGeneres, who began her career in stand-up comedy. She later starred in the ABC sitcom Ellen (1994-98), which ran for five seasons. Following that, DeGeneres hosted award shows, like the Grammy Awards in 1996 and 1997, as well as the 2001 Primetime Emmy Awards. She starred in the Epcot attraction Ellen’s Energy Adventure at Walt Disney World. This attraction ran from 1996 until 2017, and also starred Bill Nye the Science Guy. Ellen later hosted her own talk show, The Ellen DeGeneres Show, from 2003 until 2022, as well as the game show Ellen’s Game of Games (2017-21). The daytime talk show was popular, winning multiple Daytime Emmy Awards during its time, however, by the late 2010s, allegations had started to surface around a toxic workplace environment, as well as complaints around DeGeneres herself. Since the end of her series, DeGeneres has mostly retreated from the spotlight, and even moved to the UK in late 2024. DeGeneres won the Annie Award for Outstanding Voice Acting; the Kids; Choice Award for Favorite Voice from an Animated Movie; and the Saturn Award for Best Supporting Actress for her role as Dory.

Nemo is Marlin’s curious son. He wants to know all about the ocean and the creatures in it, like sharks and sea turtles. He is frustrated that his father doesn’t seem to think he can do anything for himself, even swim well because of his “lucky fin”. By swimming out to sea and touching the boat, he is aiming to show his father he is perfectly fine, but instead, this gets him taken from the ocean and put into a fish tank. Nemo is scared initially of this new environment and the other fish, but they quickly come to be friends, finding ways to ensure he doesn’t end up as a gift to Darla. Gill in particular comes to be Nemo’s “father figure” whilst away from his dad. With help from him, Nemo is freed and reunited with his father. On returning home, Marlin has made some changes to his parenting style, allowing Nemo more space and the chance to be his own fish.

Alexander Gould voiced Nemo. After Finding Nemo, Gould went on to voice Bambi in the direct-to-video sequel Bambi II (2006), and was cast as Twitch in the children’s comedy film How to Eat Fried Worms (2006). He also had a starring role as Shane Botwin in the comedy-drama series Weeds (2005-12). Gould won Young Artist awards for his roles as both Nemo and Shane Botwin, in 2004 and 2007, respectively.

The “tank gang” consists of an eclectic mix of fish and sea creatures. First, we have Moorish idol fish Gill, who seems to have been taken directly from the ocean, like Nemo, whereas the others were bought online. Gill is the most determined to escape, seeing Nemo as the perfect opportunity to get out, since he is small enough to get in and out of the filter mechanisms. Gill is mysterious, not revealing many details about his life, other than to say his fin was damaged from his escape plan to get into the dentist’s toilet, by landing on dental tools. At first, Gill doesn’t seem to care about Nemo’s safety, seeing him as a tool to get out of the tank, but it soon becomes clear that he does care about Nemo and does not want him to end up with Darla. Him and the others want Nemo to get home to his father.

Gill was voiced by Willem Dafoe. Dafoe first rose to fame with his role as Sergeant Elias in the war movie Platoon (1986), receiving an Academy Award nomination in the Best Supporting Actor category for his role. Dafoe would go on to be nominated in this category twice more: as Bobby in The Florida Project (2017) and as Max Schreck in Shadow of the Vampire (2000). Dafoe would earn a further Oscar nomination for Best Actor for his portrayal of Vincent Van Gogh in At Eternity’s Gate (2018). Dafoe is also known for his role as the Green Goblin in the 2002 Spider-Man movie and its subsequent sequels. More recently, Dafoe starred alongside Emma Stone and Mark Ruffalo in Poor Things (2023), playing Dr. Godwin Baxter. He also portrayed David Tebet in Saturday Night (2024).

As for the rest of the tank gang, we have Bloat the blowfish, who blows up whenever he gets stressed out. Generally, he is a big lovable fish. There is also Peach, the starfish who is a good lookout in the office, knowing when the dentist is doing an exciting procedure or whether he has left the room, since she is stuck to the sides of the tank most of the time. Bubbles is a yellow tang fish who has grown very attached to a little treasure chest in the tank that releases bubbles, hence his name. There is also Gurgle, a royal gamma fish who is obsessed with cleanliness, even insisting Nemo is “decontaminated” by Jacques, the cleaner shrimp, who naturally cleans the tank a lot, on learning Nemo was in the ocean. Deb is a striped damselfish, who is a little bit crazy, believing that her reflection in the tank is her sister Flo. I think Deb in particular has been in this tank a little bit too long!

Brad Garrett voiced Bloat. Garrett starred as Robert Barone in Everybody Loves Raymond (1996-2005), alongside Ray Romano, for which he won three Primetime Emmy Awards for Outstanding Supporting Actor. Known for his distinctive, deep voice, Garrett has voiced other characters for Disney and Pixar, including Dim in A Bug’s Life (1998), Gusteau in Ratatouille (2007), Hook Hand in Tangled (2010) and Eeyore in Christopher Robin (2018). Alison Janney voiced Peach. Janney won multiple Primetime Emmy Awards for her role as C.J. Cregg in The West Wing (1999-2006), going on to appear in various movies including The Help (2011), playing Charlotte Phelan; Bombshell (2019), being cast as Susan Estrich; and, most recently, A Simple Favour (2025), playing Aunt Linda. Janney also won numerous awards, including an Academy Award and a BAFTA for Best Supporting Actress, for her portrayal of LaVona Golden, Tonya Harding’s mother, in I, Tonya (2017).

Bubbles was voiced by Stephen Root. Root was cast as Jimmy James in the sitcom NewsRadio (1995-99), alongside Dave Foley and Vicki Lewis. Root has also voiced the characters of Bill Dauterive and Buck Strickland on King of the Hill (1997-2009, 2025-present). In recent live-action, Root can be seen as Neil Mullin in Bombshell (2019); Jim Hudson in Get Out (2017); and as Tony in Paint (2023). Gurgle was voiced by Austin Pendleton. Pendleton was cast as John Gibbons in the movie My Cousin Vinny (1992), and appears as Marty in Christmas with the Kranks (2004). He was part of the ensemble cast who won a SAG award for A Beautiful Mind (2001). Vicki Lewis was cast as Deb, who played Dina Reams in the Disney Channel Original Movie Den Brother (2010), and Ms. Knightslinger in the DCOM Upside-Down Magic (2020), as well as appearing as Ms. Bitterman in a few episodes of the Disney Channel series Sonny with a Chance (2009-11). Lewis is also known for her role as Beth in NewsRadio. The voice of Jacques was provided by Joe Ranft, who was an artist at Pixar. His first pieces of work included pitching and storyboarding the Green Army Men sequence for Toy Story (1995). He also voiced other characters for Pixar’s movies, including Wheezy in Toy Story 2 (1999) and Heimlich in A Bug’s Life (1998). Ranft died in a car accident in 2005, during production on the movie Cars (2006) which he co-directed[1]. Ranft worked on story for all Pixar films up until then.

There is also Nigel the pelican, who is a friend of the “tank gang”, visiting them often, wanting to get a look at the dentist treating his patients. Apparently, this is a fun activity for animals; not so much for humans! It is because of Nigel that Marlin is able to get into the dentist office, although things take a turn when it is believed that Nemo is dead. Geoffrey Rush was cast as Nigel. Rush has appeared in many projects on stage and screen over the years. He won the Academy Award for Best Actor for his portrayal of pianist David Helfgott in the movie Shine (1996). Rush continued to be nominated for his film roles over the years, including in the Best Supporting Actor category for his roles as Phillip Henslowe in Shakespeare in Love (1998) and Lionel Logue in The King’s Speech (2010). He also won a Primetime Emmy for Outstanding Lead Actor for playing the title role in the HBO movie The Life and Death of Peter Sellers (2004). Rush is also known for playing Captain Barbossa in Disney’s Pirates of the Caribbean film franchise.

The sharks Bruce, Anchor, and Chum are the biggest threat to Marlin and Dory on their search for Nemo, although Dory doesn’t even realise it. They are fine at the start, vowing not to eat fish, and Chum seems to be the one who is most likely to go off the rails. Instead, Bruce smells Dory’s blood when she hits it on the mask and he goes crazy, desperately wanting to eat them. Anchor and Chum try to stop Bruce, attempting to diffuse the situation by saying Bruce never knew his father – which is such a good excuse for wanting to eat someone, isn’t it? In the end, the sharks fear dying from an exploding mine and forget all about Marlin and Dory, giving Bruce an opportunity to come to their senses. By the end of Finding Nemo, Dory and Marlin have befriended the sharks, with Dory helping the sharks on their journey to “vegetarianism”.

Bruce was voiced by Australian comic Barry Humphries, who was well-known for his comedic performances, most notably as the character Dame Edna Everage, having many TV specials as this character in the 1980s and 1990s. Humphries went on to voice the character of Braulio in Justin and the Knights of Valour (2013). He was also the Great Goblin in The Hobbit: An Unexpected Journey (2012) via motion capture. Humphries sadly passed away in 2023. Anchor was voiced by Eric Bana, who came to fame with his role as Norm “Hoot” Gibson in Black Hawk Down (2001). He later played Hector in Troy (2004), and starred as Henry in The Time Traveller’s Wife (2009), with Rachel McAdams. Bruce Spence voiced Chum. He appeared as Cookson, one of Hook’s pirates in the 2003 adaptation of Peter Pan. He went on to play Tion Medon in Star Wars Episode III: The Revenge of the Sith (2005). More recently, he appeared as Gerry in the movie The Dry (2020), with Eric Bana.

Then, we have Crush the sea turtle. Crush is a chilled-out sea turtle, just cruising down the EAC with his friends and family. Nothing bothers Crush, and he is a relaxed parent too. His son, Squirt, falls out of the current, which causes Marlin to panic. Crush tells Marlin to calm down, knowing that Squirt will find his own way back into the current, and sure enough, he does. This shows Marlin that he doesn’t need to hold on so tight to Nemo because kids are resilient and know more than their parents think. Crush was voiced by Finding Nemo’s director, Andrew Stanton. Stanton has been at Pixar since its first feature, and was a co-director on A Bug’s Life (1998) prior to Finding Nemo, continuing to be part of the Pixar Senior Creative Team. Stanton is also writing and directing Toy Story 5 (2026).

Mr. Ray is Nemo’s flamboyant school teacher. Mr. Ray likes to sing to signal his arrival, and just generally sings on his travels! Mr. Ray is a friendly teacher, although he’s not particularly strict, not even noticing four members of his class walking towards the drop-off, risking their safety. He’s too busy looking at something else with his other students. To be honest, the ratio of students to teachers is way too low here, so no wonder an incident like this occurred. Mr. Ray should really look at hiring a teacher assistant… Bob Peterson voiced Mr. Ray and he is also a Pixar employee. Peterson had worked on the earliest Pixar movie, Toy Story (1995), within the animation department, and has continued to work on other Pixar films in both a story and voice acting capacity. For example, Peterson co-wrote the screenplay for Cars 3 (2017), and co-directed Up (2009), also voicing the characters of Alpha and the much-loved Dug. Another Pixar character he has voiced is Roz in Monsters, Inc. (2001). Peterson also wrote, created, and directed the animated short series Dug Days (2021-23), and reprised his voice role of Dug.

Finally, we have John Ratzenberger, Pixar’s “good luck charm”. Ratzenberger voiced a character in every Pixar movie up until Onward (2020), later returning to reprise his voice role of Fritz in Inside Out 2 (2024). He is particularly known for voicing the character of Hamm in the Toy Story franchise. In Finding Nemo, Ratzenberger voiced the school of moonfish, the ones who like to play charades with random swimmers-by.

PRODUCTION

Pixar had already received critical acclaim for their first four movies, starting with Toy Story in 1995. With every release, audiences started to have expectations of the studio and were excited to see what they would come up with next.

It might seem like workers at Pixar would’ve started to feel confident about their movie-making abilities. Even critics were commenting on the studio’s “reliability”, and yet, within the company, all this gave the filmmakers was an increasing amount of pressure to not mess up and ruin their streak of luck.

In the case of Finding Nemo, the team working on this movie were dealing with a tightly controlled budget, after Monsters, Inc. (2001), despite being a hit, had come under fire for its extraordinary budget, with much development work not even making it into the film. They were also only too aware of Brad Bird’s The Incredibles taking much of the focus away from Finding Nemo, since everyone was expecting that movie to be their hit for 2004. Many actually thought Finding Nemo would be a flop, including CEO of The Walt Disney Company at the time, Michael Eisner, who apparently believed it would be Pixar’s first box-office bomb. During the intense production process, even director of Finding Nemo Andrew Stanton was starting to have doubts about it.

The story of Finding Nemo was devised by Stanton, with a few inspirations. One was Stanton’s childhood visits to his dentist, who happened to have a fish tank. Stanton would look at these fish and wonder what it was like to have humans staring into your home all day. He assumed that these fish all came from the ocean and must’ve been wanting to get home[2]. Another came in later life, when Stanton went for a walk with his five-year-old son to the park. He’d wanted some father-son time together; however, Stanton began to notice how he was taking away from that time by being overprotective to ensure his son didn’t get hurt. He realised he wasn’t being present enough[3]. With these two influences combined, it is clear to see how the story started to take shape, containing a similar father-son dynamic alongside a fish’s journey from fish tank to ocean, and vice versa.

Stanton had initially written a full screenplay, however, after storyboarding, the team found the story didn’t quite work. The story department began to collaborate together to help with rewrites, spending years getting to the point where the story was right and work could begin on the animation, which is pretty standard procedure, but this does mean that many elements initially present in the story did not remain in the final film.

The biggest story element not to exist in the final edit of Finding Nemo was something Stanton was enjoying experimenting with, and that was telling Marlin’s backstory through various flashbacks during the course of the movie. It was meant to gradually show the audience where Marlin’s panic around protecting his son had come from, and would’ve been split into around five flashbacks. The first saw Marlin meeting Coral for the first time, trying to get her attention. The next saw Marlin showing Coral their new anemone home. The third saw Marlin and Coral getting ready to be parents. Another had the two talking about names for their eggs, where Coral said she’d like to name one “Nemo”. The final flashback was to show the tragedy of the barracuda attack, where all but Marlin and Nemo were lost. This was going to be played alongside scenes of Nemo in the fish net with Dory at the end of the film. Although Stanton was excited to tell the story in this format, they found during early screenings of the film that by doing this Marlin wasn’t likeable enough. Stanton was advised to tell the story in a linear format, which was less interesting for him, but after spending over a year seeing people not warm to the character of Marlin, he decided he’d have to try it. Sure enough, by having the introductory scene show Marlin losing the love of his life and most of his children, audiences immediately emphasised with this character[4]. William H. Macy was initially on board to voice Marlin and recorded all of his lines. But when Pixar decided to make the film lighter, and avoid the use of all those dark flashbacks, they felt Macy was no longer right for the part and brought in Albert Brooks, to bring much-needed humour.  

There were some others changes to characters as well along the way. Crush was going to be a too-chilled-out hippie sea turtle, who didn’t seem to have much going on his brain! Pixar made test footage of Crush which used Sean Penn’s voice, taking vocals from his 1982 film Fast Times at Ridgemont High. It is unclear whether this meant Pixar intended to, or actually did, approach Sean Penn for the part, although it is known that this style of test footage was used to recruit Tom Hanks as Woody in Toy Story, and Billy Crystal as Buzz in the same film, though Crystal turned down the role[5]. Gill was also supposed to lie to Nemo about his past, something that Nemo figured out from watching a parent reading a book to their child in the dentist’s waiting room, because everything Gill had told him was in that book word-for-word. In this same scene, the tank fish were also watching a soap opera on the dentist’s TV, this apparently being their pastime instead of watching the dentist’s more complicated appointments[6]. Dory was initially being written as a male fish, however, Stanton was supposedly watching an episode of the sitcom Ellen, starring Ellen DeGeneres, as he was working on the movie. He liked how Ellen’s character on the show talked so fast and changed subject seemingly at random, and felt she’d be perfect as Dory. Megan Mullally, famed for her character Karen Walker on Will & Grace (1998-2006, 2017-20) was also approached to voice a character in Finding Nemo, however, Pixar wanted her to sound just like Karen, which Mullally did not want to do, so she was allegedly let go for this reason[7].

With the story in place, animation could begin, but not before a significant amount of research took place. Firstly, some of the filmmakers had to take scuba lessons in Monterey Bay so they could dive and look at marine life up close. They also took dives in Maui, Hawaii. Here, they learnt that the reef can be split up into three simple ideas: that there are ground masses; tall, vertical shapes; and flat, horizontal areas. This allowed the filmmakers to present this reef to an audience in an easy way. Research was also taken in Sydney and around the harbour. With the seagull chase, when Nigel the pelican is trying to get Marlin and Dory to Nemo, this was meant to go through the city, but whilst looking at the harbour, they thought it would be more recognisable to set it across the bay, as the Sydney Opera House and the Sydney Harbour Bridge are famous tourist attractions, making it easy for the audience to locate the setting of the sequence. They even did some research at a water treatment centre and sewage plant, with this being the intended setting for a sequence, following Nemo’s journey from toilet to ocean, that was ultimately cut[8]. What a waste!

The underwater world was quite difficult to recreate, as there needed to be a balance between realism and creativity. Although the animators were able to mimic actual shots in a simulation, they found this made the ocean too real, so they had to figure out a way of toning that down, but keeping some of that believability. Light was an important factor in achieving this, as they wanted to created mood as well as reflect natural times of day in the seascape. For example, it starts off as bright, blue water by Marlin and Nemo’s home, before getting darker and greener as they approach Sydney. Different types of light had to be factored in as well, such as light travelling differently through sewage water and harbour water compared to the open ocean. They even animated surge and swell in the water to reflect true activity.

On studying fish, it was decided that animating fish characters was going to be difficult. Fish don’t have any emotion in their faces, so instead, the animators turned to dogs. They saw that dogs use their eyebrows to emote, so this idea was put into the fish characters. Animating how fish move was an added challenge, since Pixar had animated non-human characters before but they had mostly walked on two legs. Here, they’d have to study how fish move their fins and propel themselves through the water[9]. They also had to explore how light goes through fish. In the end, they likened the effect to holding a gummy bear up to the light, and gave their fish this gummy sort of surface, before adding the correct texture to the skin and scales.

Other animation challenges in Finding Nemo included some effects and specific environments. One of these was recreating the anemone. After some time experimenting with ways of animating this, they discovered that covering a tennis ball with fur from Sulley in Monsters, Inc. and sticking it upside down managed to simulate the movement of the anemone, and they could just thicken the fur as needed from that point. With simulations of the large school of moonfish, they used Pisces software to make this, simply “killing” any misbehaving fish from the shot. So, although no actual fish were harmed in the making of Finding Nemo, it would seem that some computer-animated fish were! This was a similar type of process to the fishing net sequence towards the end of the film.

For some specific effects, they studied how silt moves in the ocean, specifically in relation to the rusting shipwreck that the sharks live in. When Bruce hits into parts of the ship, you can see silt, rust, and dust being kicked up. These particles move differently in water than they do in air, so they had to be animated realistically. They did the same with how a mine would explode underwater, creating a mushroom cloud of smoke, with one mine setting off the one next to it, and so on. The whale’s mouth was a particularly difficult challenge for many departments, as it is a dark environment, causing a problem for lighting, and the water trapped in the water looks and behaves differently to the ocean water, with splashes of water and smaller particles running down the whale’s tongue.

Finding Nemo contains many fun Easter eggs. For example, their famous “A113”, referencing a classroom at CalArts were some of Pixar’s animators studied, appears on the diver’s camera here, and the Pizza Planet truck appears outside the dentist’s office on the road, during the imaginary escape sequence, when we see a bag of water rolling itself into the harbour. You can also see a Buzz Lightyear toy in the dentist office, and a boy waiting to be seen by the dentist is reading a Mr. Incredible comic book, continuing the Pixar tradition of referencing their next film, in this case The Incredibles (2004). In Monsters, Inc., the movie preceding Finding Nemo, Nemo appeared as a toy in Boo’s room at the end of the film, and could be found hanging on the wall inside the door that Randall is thrown into by Sulley, also towards the end of the film. Nemo even appeared as one of the fish in the net that is destroyed by Kenai riding on a mammoth in an early scene in Disney’s Brother Bear (2003).

Other fun references in Finding Nemo include the fact that the character Darla was named after Pixar producer Darla K. Anderson, producer of A Bug’s Life (1998) and Monsters, Inc. (2001), who believes her history of playing practical jokes on Andrew Stanton was the reason for this, thinking naming the “villain” of Finding Nemo after her was some kind of payback! You can also see witty names of boats in the Sydney Harbour sequence, such as “Pier Pressure”, “The Surly Mermaid”, “iBoat”, and “Knottie Buoy”[10].

MUSIC

Although Randy Newman had composed the music for all four previous Pixar movies, the composer for Finding Nemo was someone different. But not someone too different, as the composer was Thomas Newman, Randy Newman’s cousin!

After Finding Nemo, Thomas Newman continued to work on the music for other Pixar movies, like WALL-E (2008) and Elemental (2023). He also became known for his compositions for other hit movies, like the Bond movies Skyfall (2012), for which he won the BAFTA for Best Original Music, and Spectre (2015). Prior to Finding Nemo, Newman had composed the music for American Beauty (1999), winning the BAFTA for Best Original Music, along with a Grammy for Best Score Soundtrack for Visual Media, and was nominated for the Academy Award for Best Original Score. He would later win the Grammy award again, and be nominated for Best Original Score at the Academy Awards too, for Skyfall. Newman also won an Emmy for Outstanding Main Title Theme Music for the series Six Feet Under (2001-05), and recently composed the music for Netflix’s miniseries Monsters: The Lyle and Erik Menendez Story (2024) with Julia Newman.

The Finding Nemo soundtrack mostly consists of instrumental music, because this isn’t a Disney movie so these fish don’t sing! The score had to get across a wide range of emotions and feelings throughout the movie, as Marlin, Dory, and Nemo deal with their fair share of highs and lows, threats and happy moments. For me, I particularly like the pieces “First Day”, which is a more positive, upbeat moment, at least for Nemo as he gets ready for his first day of school, as well as “Finding Nemo”, which sees Marlin and Nemo reunited at last. “Nemo Egg (Main Title)” is also a nice song, showing Marlin vowing to protect his son for the rest of his life, although it is slightly melancholic too. Within the more tense moments, I quite like “Lost”, where Marlin is desperately trying to figure out where the boat and divers who took his son have gone, and “Friends Not Food”, as Marlin and Dory are trying to escape from Bruce. “All Drains Lead to the Ocean” is another good piece of music here.  

The only actual song to appear on the movie’s official soundtrack is the End Credits song “Beyond the Sea”. For Finding Nemo, this song, originally titled “La Mer” and performed by Charles Trenet, was performed by British singer, and former member of Take That, Robbie Williams. It features on his 2001 album Swing When You’re Winning. There was also a music video released of this song, but only with clips from the film; you won’t see an animated fish version of Robbie. “Beyond the Sea” was written by Charles Louis Trenet, Albert Lasry, and Jack Lawrence.

Other music does, however, appear in Finding Nemo, and these songs were credited. One was “Psycho (The Murder)” written by Bernard Hermann. The opening notes of this music were used when Darla appears in the dentist’s office to collect Nemo, to show that she is terrifying to the fish. “Fandango” written by Bob Bain and “The Girl from Ipanema” written by Antonio Carlos Jobim, Vinicius De Moraes, and Norman Gimbel are also both credited, although I can’t find specifically when they are used, other than they seem to be used as background music during the scenes in the dentist’s office and its waiting room.

Newman’s score won the Annie Award for Music in an Animated Feature Production, as well as the BMI Film Music Award. It was also nominated for Best Original Score at the Academy Awards, and Best Original Score at the Satellite Awards, however, it lost out to Howard Shore’s music for The Lord of the Rings: The Return of the King, and Hans Zimmer’s score in The Last Samurai, respectively. Newman also missed out on the Saturn Award for Best Music to The Lord of the Rings: The Return of the King’s score.

RECEPTION

After around three years of production on Finding Nemo, the movie was ready to be shown to the public. The premiere of Finding Nemo was held at the El Capitan Theatre in Los Angeles on 18th May 2003, before being widely released in the US on 30th May 2003, becoming the first Pixar movie to be released in the summer, and not November, although in some countries, Finding Nemo would not be released until closer to November. Finding Nemo was also released alongside a customary Pixar short. In this case, Pixar re-released a short from their past, Knick Knack from 1989, about a snowman in a snow globe desperately trying to get free so he can hang out with the other ornaments on the shelf.

November has always been considered a good time to release a movie, but so is summertime. However, it was likely still a little bit concerning for Pixar to be releasing a movie outside of their usual timeframe. Yet, they had nothing to worry about because Finding Nemo did amazingly well, both at the box office and with critics. Audiences loved it too.

Finding Nemo achieved the best opening ever at the box office for an animated picture at the time, taking $70.6 million, more than Monsters, Inc. with $62.5 million. Finding Nemo’s box-office performance was followed by Bruce Almighty, The Italian Job 2003 remake, and The Matrix Reloaded[11]. By the end of the year, it was confirmed that Finding Nemo’s domestic takings had reached just under $340 million, and the movie reached the No. 2 spot for 2003 box-office results with just over $870 million; The Lord of the Rings: The Return of the King took the top spot. Comparing these results to Disney’s animated release of the year, Brother Bear reached No. 14[12]. At one time, Finding Nemo was the highest-grossing animated movie of all time, but has been surpassed many times since.

In terms of reviews, the overwhelming majority of these were positive, although there have been some more negative comments, especially in more recent times. These include that Finding Nemo may’ve been overhyped simply because of its incredible use of computer animation; Pixar was way ahead of the competition, that is a well-known fact. Others say it was less ambitious than previous films, which I can only assume they mean in way of story, as it can get a bit samey after a while, something I understand, but the animation was clearly ambitious. There were comments that Toy Story and Monsters, Inc. are funnier Pixar films, which I agree with, and that sometimes Marlin and Dory got a bit much for some viewers, who found them grating and annoying at times. Some also say some moments in this film are too scary for young children, such as the shark scene, although I’d disagree with that.  

On the positive side, many praised the beautiful animation and casting, particularly liking the chemistry between Marlin and Dory. It was seen to be a real story, easily recognisable as a story about the human condition, with messages around parenting and loss in particular. It was entertaining, clever, and imaginative, proving to be popular with adults and children alike. It has since been lauded as a timeless classic.

Finding Nemo’s critical acclaim and financial success were rewarded with a brilliant award season. Arguably the biggest achievement was winning the Academy Award for Best Animated Feature, this being Pixar’s first win in this category. Andrew Stanton, Bob Peterson, and David Reynolds were nominated in the Best Original Screenplay category and Best Sound Editing was another category where Finding Nemo was nominated.

Finding Nemo also won the Saturn Award for Best Animated Film, and won Favorite Movie at the Kids’ Choice Awards. Pixar also swept the Annie Awards with Finding Nemo winning the Best Animated Picture; Character Animation and Design; Directing; Effects; and Writing categories. Finding Nemo won every category it was nominated in. Finding Nemo was also named Best Animated Film of 2003 by the National Board of Review.

Outside of that, the screenwriters were again nominated for Best Original Screenplay at the BAFTAs. Finding Nemo was also nominated for Best Motion Picture – Musical or Comedy at the Golden Globes but lost to Sofia Coppola’s Lost in Translation. The Golden Globes did not have a Best Animated Feature Film category until 2007.

LEGACY

Following on from its theatrical release, Finding Nemo broke more records with its DVD release, becoming the best-selling DVD of all time, still holding on to that top spot and winning awards for its bonus features and games. Some of these included behind-the-scenes footage, as well as information around marine life, presumably to encourage children to learn about the underwater environment. One of these included a television special with French oceanographer Jean-Michel Cousteau called Exploring the Reef, which also saw him being joined by Dory, Marlin, and Nemo, to explain the importance of coral reefs and other marine life in the natural world.

 A video game based on the events of Finding Nemo was also released in 2003, and Finding Nemo characters have since been added to other Disney-affiliated games, like Disney Friends and Disney Infinity.

Finding Nemo was also re-released in 3D in September 2012 for a limited time. The successful 3D re-release of The Lion King in 2011 may’ve had something to do with this. The 3D release made just under $70 million worldwide, increasing Finding Nemo’s total worldwide box-office takings to just over $940 million.

It was then announced in early 2013 that Finding Nemo would be getting a sequel, with the name being revealed as Finding Dory. It was due to be released in November 2015, however, ended up being released in June 2016. Ellen DeGeneres was confirmed to be back to reprise her role as Dory, and Andrew Stanton was confirmed as the director of the sequel after directing the original. It was announced that Alexander Gould would be unable to return to voice Nemo due to the gap between the movies and the nature of voices changing with age[13]! Finding Dory became the fifth sequel or prequel to come from Pixar. 

Due to Finding Nemo’s popularity over the years since 2003, it is no surprise that the Disney Parks have created experiences based on the film. A very early one of these was a means of promoting the movie at the parks, particularly the US parks. This was done with a moving Nemo vehicle who roamed around the parks, being spotted at Epcot at Walt Disney World in Florida, as well as featuring in a mini-parade at Disney California Adventure Park at Disneyland in California, alongside fish puppeteers and dancers. This same Nemo was also used for the Walt Disney World Christmas Day Parade in December 2003, complete with a coral reef stage and the End Credits song from the movie “Beyond the Sea” playing.

At Walt Disney World, changes to its parks to incorporate Finding Nemo began early on. The Living Seas pavilion in Epcot, first opened in January 1986, complete with the largest saltwater aquarium tank in the world at the time; a restaurant, Coral Reef Restaurant; and exhibits. Guests were even taken to this “Sea Base Alpha” in “hydrolators”, large elevators that supposedly went deep underwater but only moved a couple of inches. The Living Seas area began being re-themed to Finding Nemo in early 2004. First, Nemo’s Garden, a collection of statues of the characters from the movie, was installed outside the pavilion, remaining there to this day as a good photo spot. Then, Turtle Talk with Crush, an interactive show where guests can speak to Crush on-screen, making the show different on every viewing, opened within the old Sea Base in November 2004. The Sea Base began to be changed, with specific signage referencing the Finding Nemo characters’ real-life fish counterparts as well as Bruce’s Shark World, an interactive exhibit, being added. The Living Seas pavilion was closed in August 2005, reopening as The Seas with Nemo & Friends alongside a new attraction in January 2007. This attraction, matching the name of its pavilion, saw guests ride through the aquarium tanks, with projections of Finding Nemo characters added to the real-life marine life, as they go through scenes inspired by the movie in “Clamobiles”, ride vehicles made to look like clams. This is an omnimover-style attraction, so it is continuously moving. The ride ends with characters singing a new song, “Big Blue World”, written for a new show at Disney’s Animal Kingdom by Robert Lopez and Kristen Anderson-Lopez, the two who wrote the songs for Frozen (2013) and Frozen II (2019)[14].

This new Animal Kingdom show was Finding Nemo – The Musical, which began performances at the Theater in the Wild, which used to house Tarzan Rocks! from 1999 to 2006, on 24th January 2007. This used to be an outdoor theatre but became enclosed for this new show. Finding Nemo – The Musical contained fourteen new original songs, and was a forty-minute show. It featured live actors and puppetry, such as a huge Crush puppet measuring the same size as a VW Beetle, and a Nigel the pelican puppet being 22-foot-tall. Many puppets were held up with rods by live actors. Crush himself needed four puppeteers to operate, and an additional singer, since all songs were performed live on stage. Michael Curry, who co-created the puppets for The Lion King musical on Broadway, was on hand to create these puppets. The show was directed by Peter Brosius, and choreographed by John Carrafa. Finding Nemo – The Musical won the Themed Entertainment Associate Award for Best Live Show in 2009. Guests could also own the soundtrack on CD, as I did, because it really was a fantastic show. Finding Nemo – The Musical closed in 2020 for the COVID-19 pandemic closures, and did not reopen until 2022, with a slightly shortened, altered show, and some songs were cut – including my favourite song…[15]

There is also a Walt Disney World hotel that features suites and courtyards themed to Finding Nemo, alongside those themed to The Lion King (1994), Cars (2006), and The Little Mermaid (1989). This hotel is Disney’s Art of Animation Resort, which officially opened on 31st May 2012, becoming Walt Disney World’s 26th resort. The Finding Nemo suites opened first on 31st May, with the other three sections opening in the following four months. The Finding Nemo rooms feature coral-shaped chairs, lights shaped like bubbles, a porthole mirror, and a vaguely shipwreck-themed bathroom complete with sharks on the shower curtain. The suites also have brightly coloured painted motifs and furnishings to match the coral reef in the movie. The “Big Blue Pool” is the main pool of the resort, the largest hotel pool at Walt Disney World, and includes large statues of characters and settings from the movie, like Crush, and Marlin and Nemo in their anemone. The Drop Off pool bar is nearby, as is a small children’s splash pad. Initially, the space where Disney’s Art of Animation sits, across a lagoon from Pop Century Resort, was meant as an expansion to Pop Century. Pop Century features buildings themed to a specific decade, from 1950s to 1990s, opening in 2003. A “Legendary Years” section, going from 1900s to 1940s, was planned to open in 2007, with some year markers and buildings already in place. This was never built and it was not until Summer 2010 that construction began on this leftover hotel space, with the theme changing to represent some of Pixar and Disney’s best animated films[16].

At Disneyland, specifically in Disney California Adventure Park, Turtle Talk with Crush opened in July 2005 at the Disney Animation area of Hollywood Land. The biggest Finding Nemo addition to Disneyland though was the reimagining of the Submarine Voyage ride at Tomorrowland in the original Disneyland Park. Submarine Voyage opened in 1959. Guests entered a real submarine and went underwater in a manmade lagoon. Portholes allowed guests to view the underwater scene. The story of this attraction was that you were on a voyage to the North Pole. A similar version of this ride later opened at Magic Kingdom in Walt Disney World, but themed to 20,000 Leagues Under the Sea (1954). This ride opened in 1971 and closed in 1994. The Magic Kingdom lagoon was eventually filled in, around 2004, and is now Seven Dwarfs Mine Train, opening as part of their New Fantasyland expansion in 2014. Submarine Voyage was no longer a popular attraction with guests by the 1990s, and Disneyland imagineers feared a similar future to this ride as the one at Walt Disney World. They knew it needed to be updated, and it was felt the perfect opportunity had come when Disney Animation released Atlantis: The Lost Empire (2001). This movie contains a specific chase sequence with sea monster the Leviathan, but as the movie flopped, the plans were abandoned. After seeing the success of Pixar’s Finding Nemo, a new retheme was devised. Submarine Voyage closed in 1998, and Finding Nemo Submarine Voyage did not open until June 2007. The submarines were repainted, the “wreckage” in the lagoon was changed to match the Australian coral reef setting of the movie, although some of the original ship graveyard from Submarine Voyage was kept. Finding Nemo Submarine Voyage now follows the story of visitors helping Marlin and Dory find Nemo once again and characters from the movie are projected into the water scenes, similarly to The Seas with Nemo & Friends attraction, at points throughout the ride[17].

Although the US Disney Parks appear to have the most Finding Nemo-themed experiences, there are more at the other four international parks. At Disneyland Paris, specifically at the Walt Disney Studios Park – soon to reopen in 2026 as Disney Adventure World – in the Worlds of Pixar area is Crush’s Coaster, a thrilling, spinning rollercoaster, taking you through moments from the film, including the sharks’ shipwreck and a ride through the EAC. It opened in June 2007.

At Shanghai Disneyland, there is a play area called the Junior Explorers Camp at Adventure Isle with an area themed to Finding Nemo. Two other areas are themed to The Lion King and Up (2009). At Tomorrowland in Shanghai Disneyland, there is an interactive exhibit called Pixar Adventurous Journey, with exhibits themed to different Pixar movies. One of these is Finding Nemo. At Hong Kong Disneyland, there used to be a Turtle Talk with Crush attraction, however, it was only open through the summer of 2008, and did not return. However, you can see Nemo, Dory, and Peach the starfish, though they are just stuck on wall, within the it’s a small world attraction there. At the Disney Explorers Lodge Hotel here, there is also a children’s indoor play area themed to Finding Nemo called Nemo’s Recreation Reef. At Tokyo Disneyland, specifically at Tokyo DisneySea in the American Waterfront area, guests can experience Turtle Talk with Crush, just like the US Parks, which opened in October 2009. You can also see Nemo, Marlin, and Dory on a wall within the it’s a small world attraction.

For parades and shows at the Disney Parks, Finding Nemo has frequently featured in some of these, for example, during the Disney Stars on Parade at Disneyland Paris, there is a whole float featuring the characters of Finding Nemo, including Crush, Dory, Bloat, and of course, Nemo. A small clip of Finding Nemo is shown during World of Color – Season of Light at Disney California Adventure during the festive season. Another clip of Squirt and Crush in the EAC, following by Dory and Marlin speaking to the whale, also featured within the original World of Color show, but that show has been updated so many times now, I doubt the original will come back. Nemo even flew over Disneyland’s Sleeping Beauty castle during the Disneyland Forever fireworks back in 2015 for the park’s 60th anniversary celebration, “recreating” his initiation into the “Tank Gang”.

On the Disney Cruise Line, since cruises take place on the ocean, it makes sense that Finding Nemo would be referenced on some of their cruise ships. For example, there is the Nemo’s Reef water play area on the Disney Fantasy and Disney Dream. On the Disney Wish, Disney Treasure, and Disney Destiny, “Go with the Flow”, from Finding Nemo – The Musical, is performed as part of the Disney Seas the Adventure musical stage show. You can even experience a version of Turtle Talk with Crush at Animator’s Palate on some ships.

Many pieces of merchandise have been available over the years featuring Finding Nemo characters, such as toys, clothing, games, pins, and MagicBands. Finding Nemo is one of those movies that is consistently referenced at the Disney Parks and there is no need for fans of the film to wait until a milestone anniversary to find something new.

FINAL THOUGHTS

Finding Nemo did brilliantly both commercially and critically on its release, exceeding even those at Pixar’s expectations who couldn’t believe their luck that each of their first five movies had been big hits.

The movie was not only funny, moving, relatable, full of quotable lines and memorable characters, but it had an impact of society. Finding Nemo made clownfish and blue tangs in particular globally recognised reef species, something that children can quickly point out. It’s impossible to go to an aquarium and not hear someone say “I found Nemo!”, or hear someone saying “Mine!” whenever seagulls are around.

More importantly, it made many of us think about how we as humans interact with the ocean world, and just how fragile an environment it is. Not only should we not take creatures from the sea away from their natural habitats purely to collect them, but we also need to consider whether underwater tourism, like scuba diving and snorkelling, is worth the harm and risk it can cause to reefs.


REFERENCES

[1] Credit: Jim Korkis, ‘In His Own Words: Joe Ranft’, CartoonResearch.com, 7th June 2019.

[2] Credit: Ben Sherlock, ‘Just Keep Swimming: 10 Behind-The-Scenes Facts About Finding Nemo’, ScreenRant.com, 21st February 2020.

[3] Credit: Pixar, “Visual Commentary Index”, from Finding Nemo (2003) UK DVD 2-Disc Collector’s Edition (2004).

[4] Credit: Pixar, A Lesson in Flashbacks (2012), Disney+.

[5] Credit: Jim Hill, ‘Tales of the VES: Behind-the-scenes on “Finding Nemo”’, JimHillMedia.com, 20th July 2003.

[6] Credit: Pixar, “Visual Commentary Index”, from Finding Nemo (2003) UK DVD 2-Disc Collector’s Edition (2004).

[7] Credit: Ben Sherlock, ‘Just Keep Swimming: 10 Behind-The-Scenes Facts About Finding Nemo’, ScreenRant.com, 21st February 2020.

[8] Credit: Pixar, ‘Filmmakers’ Roundtable I Finding Nemo’, Special Features Archive YouTube Channel, 16th March 2025.

[9] Credit: Pixar, “Making Nemo”, from Finding Nemo (2003) UK DVD 2-Disc Collector’s Edition (2004).

[10] Credit: Pixar, “Visual Commentary Index”, from Finding Nemo (2003) UK DVD 2-Disc Collector’s Edition (2004).

[11] Credit: The Guardian, ‘Disney finds box office gold with Nemo’, TheGuardian.com, 2nd June 2003.

[12] Credit: Box Office Mojo, ‘Domestic/Worldwide Box Office For 2003’, BoxOfficeMojo.com.

[13] Credit: BBC, ‘Finding Nemo sequel, Finding Dory, to be released in 2015’, BBC.co.uk, 3rd April 2013.

[14] Credit: Jim Korkis, ‘The Seas With Nemo And Friends’, YourFirstVisit.net, 14th May 2021.

[15] Credit: Jim Korkis, ‘Fridays with Jim Korkis: Finding Nemo – The Musical’, YourFirstVisit.net, date unknown.

[16] Credit: Jim Korkis, Hidden Treasures of WDW Hotels (2021), “Art of Animation”, pp. 147-154.

[17] Credit: Pixar, ‘Reinventing the Submarine Voyage I Finding Nemo’, Special Features Archive YouTube Channel, 16th March 2025.

#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.

#15 Inside Out (2015)

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

BACKGROUND

“Do you ever look at someone and wonder: what is going on inside their head?”

These are the opening words of Pixar’s Inside Out, the 15th movie to come from the studio, twenty years after their first movie, Toy Story, was released in 1995, becoming the first-ever computer-animated feature film.

Whereas Disney Animation is known primarily for animating fantasy and adventure stories, usually with some sort of children’s story or novel as inspiration, Pixar tend to base their movies simply in the relatability of human experience.

Although this is usually done with a fantastical twist, like the existence of monsters, or rats that can cook, or a little fish going missing in the ocean, there is still something about the plight of these non-human characters that us as people can connect with.

In the case of Inside Out, Pixar chose to actually look inside humans, basing their whole movie on how we think and feel. What would that look like? What is going on in our heads when we face conflicting emotions?

As well as chronicling the trials and tribulations of an 11-year-old girl during a particularly difficult move away from her hometown of Minnesota to the city life of San Francisco, Pixar took us inside the mind, personifying emotions, giving them responsibilities, and showing how memories are created.

When I first watched Inside Out, I remember thinking it was a very clever movie from Pixar. They showed us how memories might be stored, how thoughts are categorised, and what our imagination looks like in a way that was fun, colourful, and meaningful.

It was also very poignant, as it proved how useful sadness can be, trying to move us away from thinking that happiness is the only emotion people should feel, and that if they don’t, there must be something wrong with them. We now have a word for that: toxic positivity, a very unhealthy attitude to have.

Pixar rarely get a foot wrong when it comes to their films, though they have not always been perfect. However, Inside Out felt like a turning point for Pixar, as they’d made something not only entertaining, but significant. But it is worth noting that Inside Out might’ve been highly praised simply because it was released after the disappointing sequel Cars 2 (2011) and the prequel Monsters University (2013), with more sequels coming afterwards.

PLOT

Inside Out begins with the birth of its main human character, Riley. We see Riley as a baby and then go inside her mind to see Joy appear. Here, Joy can see through Riley’s eyes, watching her delighted parents. This moment creates Riley’s first memory, which Joy sees roll into Riley’s mind like a glass ball, and stack itself on nearby shelves. Joy is excited to help keep Riley happy throughout her life, expecting it to be just the two of them now.

But just a few seconds later, Sadness shows up as Riley cries for the first time. Over the coming days, other emotions join Joy and Sadness inside Riley’s mind. First, Fear, who keeps Riley safe from tripping over a cable whilst playing in the house; then Disgust, who saves Riley from being poisoned by broccoli; and Anger, who shows up to get Riley to voice her displeasure at being refused dessert if she doesn’t eat that broccoli!

As the years go on, Joy is pleased to find that the majority of Riley’s memories are all golden and happy, since memories match the colour of the primary emotion in that memory. At the end of each day, these memories are taken down to Long-Term Memory to be stored. Riley’s Core Memories are also golden and these power Riley’s personality, forming personality “islands” inside her mind, like Family Island, Friendship Island, Hockey Island, Honesty Island, and Goofball Island. As Riley has grown up though, Joy has been at odds with Sadness, not knowing what she is actually in “HQ”, as in Riley’s mind, for.

Joy knows that Riley is 11 now so doesn’t expect much to happen in her life. And yet Riley’s parents have packed up all their belongings and moving from Minnesota to San Francisco. The journey is long, so the emotions review some of Riley’s favourite daydreams about what their new house will be like. Riley is excited to see it, but when they arrive, she finds it is nothing special and is in fact very rundown and kind of dirty… Riley is horrified, but Joy tries to keep her spirits up. However, the more Riley sees of the house, the more her other emotions push Joy aside, creating bad memories of the place. To make it worse, Riley’s mother then tells her the moving van won’t be coming for days, and when Riley tries to lighten the mood by playing hockey in the house with a balled-up piece of paper, her dad is called out to work. Riley and her mother go out for pizza but discover that San Franciscans apparently have a love for broccoli on pizza. That is so wrong.

Riley’s emotions are struggling with what is going on, but none more so than Sadness, who keeps feeling the urge to touch happy memories, which turns them blue. Joy tells Sadness not to touch any more memories, but Sadness goes to touch a Core Memory and it falls out. Sadness cries she thinks she’s having a breakdown. Joy pushes the Core Memory back in to place, because without these, Riley’s personality “islands” will stop working and she’ll become a shell of her former self. Sadness is sent to read manuals and stay away from the main console of HQ. Joy is also concerned that many of Riley’s memories for that day are a mixture of Fear, Anger, and Disgust. That’s new.

That evening, Riley is sleeping on the floor of her new room in a sleeping bag, much to Disgust’s…disgust. Her mother comes upstairs to tell her that her dad is very busy with work and that the moving van is going to be even later, but she appreciates Riley taking it all in her stride and still making an effort to be happy. Despite Riley’s fear and upset at being forced to move here, she continues to put on a happy face. Now it’s time for sleep and Joy is on “dream duty”, excited to see what Dream Productions is putting on for the night. Joy is unhappy with their choice so puts on a memory of Riley ice skating with her parents instead.

The next day, Joy wakes up with even more enthusiasm than usual, waking the other emotions playing the accordion. It’s Riley’s first day of a new school and Joy wants it to be perfect. She orders Fear to write a list of all possible worst-case scenarios for the day; tells Disgust to choose a great outfit for Riley; and Anger is tasked with unloading daydreams from the Train of Thought in case Riley’s lessons are boring. Sadness, on the other hand, is confined to a circle which Joy drew on the floor, telling her not to step outside of it.

At school, Riley is immediately asked to introduce herself to the class by her teacher, something that Fear calculated was the worst-case scenario. Joy isn’t concerned though and Riley starts to talk a bit about Minnesota and how great it was living there… The emotions then see that Riley has started crying in front of everyone. Horrified, they turn around to find Sadness has stepped out of her circle and touched a memory, making it sad. They then notice that a Core Memory has been created – and it’s entirely blue. This is Riley’s first-ever sad Core Memory. Joy and Sadness fight over it, with Joy wanting to dispose of it, but as they fight, all of Riley’s Core Memories are knocked out of position, Joy picks them up but her, the memories, and Sadness are sucked into one of the tubes that transports Riley’s memories around the mind. They are thrown out of Headquarters, and dumped in Long-Term Memory. Joy and Sadness discover that none of Riley’s personality islands are working without the Core Memories, so they know they have to hurry back to HQ.

Joy and Sadness’s departure has left only Fear, Anger, and Disgust in HQ. It’s already apparent that Riley’s personality has changed as she sits slouched eating dinner with her parents. Her mother tries to ask about school but thanks to Disgust, Riley’s answer comes out sarcastic. This leads Riley’s mother to become worried and try to get Riley’s father involved. As we can see inside both of their minds now too, we know Riley’s father wasn’t paying attention, exasperating Riley’s mother. Riley’s father tries to contribute to the conversation but makes everything worse, inflaming the situation instead of calming it. This makes Riley angry and she is sent to her room. Riley’s father is pleased with how he put his foot down, but Riley’s mother knows it was a disaster… Riley’s dad tries to cheer Riley up later by acting silly but Riley is having none of it.

This brings us back to Joy and Sadness who are trying to navigate their way to HQ by walking along a thin bridge between Goofball Island and Headquarters. As Riley refuses to act silly with her dad, Goofball Island breaks away and Joy and Sadness run back to Long-Term Memory. Riley then falls asleep so Joy wants to be back in HQ by morning, but this means a long walk round to Friendship Island. Sadness doesn’t feel like moving but knows Joy will get lost in the maze that is Long-Term Memory. Sadness then shows she knows the route through so Joy drags her along with her. The next morning, they are still walking and Joy is annoyed to find that Sadness has touched all the bottom row of the Memory Shelves turning them blue. Joy sees some Memory Workers getting rid of old, faded memories, sending them to the Memory Dump to be forgotten forever. One of these that will never fade is the Triple Dent Gum jingle, which the workers like to send to HQ just for fun! Joy asks them for directions to Friendship Island but they walk away, ignoring her.

Back with Riley, she video calls a friend from Minnesota who tells her about this new girl on their hockey team and how amazing she is. Naturally, this upsets Riley who bluntly ends the call. This event causes Friendship Island to collapse just like Goofball Island, so Joy and Sadness cannot take that route now. They are back to walking again… Joy notices something pink seemingly taking some of Riley’s memories. Joy goes to confront him but he runs away, scared. It turns out Joy knows exactly who this. It’s Bing Bong, Riley’s imaginary friend. Bing Bong says he’ll help them get back to HQ, with Joy promising she’ll get Riley to remember him, as he is being forgotten, once they’re back.

Bing Bong tells them the best way to get back is to catch the Train of Thought which has a station in Imagination Land. Bing Bong takes them through a “shortcut” which is actually Abstract Thought. Some workers turn the area on as Joy, Sadness, and Bing Bong are walking through and they start to transform. First, they become fragmented, then deconstructed, then 2D, then simple shapes. They manage to jump out of Abstract Thought alive but have missed the train as they wait to regain their actual forms. There is another station through Imagination Land, so they keep walking, through French Fry Forest, Cloud Town, the House of Cards, where Bing Bong’s magical rocket/wagon has been left, and the Imaginary Boyfriend machine. At Pre-School World, Bing Bong’s rocket is taken by workers who are demolishing the whole area. Bing Bong is devastated to find that Riley is moving on from him. Joy tries to boost his mood, but it doesn’t work. Sadness then sympathises with him and they talk about Bing Bong’s sadness at things changing and him being forgotten. Joy is amazed to find that Bing Bong’s talk with Sadness has actually made him happier…

At HQ, Fear, Anger, and Disgust see Riley breaking down further. At hockey try-outs, without her Core Memory and Personality Island, Riley plays terribly and storms off upset, causing Hockey Island to collapse. Anger thinks he has a way of fixing this whole situation: by running back to Minnesota and creating new Core Memories. Disgust and Fear aren’t so sure, so they put a pin in that idea.

Back with Bing Bong, Joy, and Sadness, they have boarded the Train of Thought, but it stops soon after as Riley falls asleep. Luckily, they stopped right by Dream Productions. They decide to infiltrate the dreams to wake Riley up. On set, Sadness says they should scare her awake, but Joy doesn’t want to do that. Instead, they dress up like a dog and run onto the Dream Productions set. Joy and Sadness’s costume breaks apart though, so it looks like the dog has been cut in half. Bing Bong rushes on to set too to try and talk to Riley, and Dream Productions Security carry him out. This whole dream was being watched by Fear who was on Dream Duty too. He was unimpressed to say the least.

Joy and Sadness then go to the Subconscious where Bing Bong has been put in a cell. As the two try to enter the area, two guards see them and throw them inside. They follow a trail of candy wrappers to find Bing Bong in a cell made of balloons, sitting on top of a clown. This clown is Jangles and he is terrifying, which is why he is in the Subconscious; this is where all of Riley’s darkest fears live. Joy releases Bing Bong and then decides Sadness was right about scaring Riley awake, so they wake up Jangles and lead him to Dream Productions. Riley does wake up and they jump on the train. But at HQ, Anger decides they must take action and puts the running away thought in Riley’s head, by placing a literal light bulb in the console. Riley decides to do it, buying a bus ticket home, and stealing her mother’s credit card to pay for it, which breaks down Honesty Island.

On the train, Bing Bong picks up a memory of Riley playing hockey. Joy remembers that it was a day of celebration with her hockey team, but Sadness remembers that Riley actually was very sad that day after missing the winning goal in a big game. Honesty Island’s collapse causes the Train of Thought to derail and the three are pulled to safety by Memory Workers. They tell Joy Riley is running away. Sadness and Joy rush over to Family Island, the last personality island standing and go to a Recall Tube to get back to HQ. But as Sadness enters the tube, Riley’s Core Memories start to turn blue. Joy tells Sadness Riley needs to be happy and goes off without her. But the tube breaks, and as Bing Bong tries to help, he too falls, both of them heading right to the Memory Dump.

As Bing Bong loses hope that they’ll get out of there, Joy starts to cry and picks up the memory that they were just talking about. As she wipes a tear off it, she sees that this memory started off sad and then became happy. This shows to Joy that memories can have mixed emotions and that Sadness alerted others to how Riley was feeling so that they could come and comfort her to make her happy again. Joy knows she can’t just stay here, and finds Bing Bong’s rocket, powered by song power. The two get in the wagon and start to sing. They rise higher and higher…but it’s not enough. They keep trying but just can’t seem to get out of there. Bing Bong then realises he might be too heavy so at the last moment, he jumps out, causing Joy to make it back to Long-Term Memory. Looking down, she sees Bing Bong waving and then he fades away forever…

Back in San Francisco, Riley’s parents have discovered Riley is missing and so Family Island starts to fall. Joy quickly finds Sadness, who is floating on a cloud of tears, believing Riley is better off without her. Inside HQ, the emotions have discovered that Riley’s console is turning grey, and they cannot do anything to reverse Riley’s decision to run away. Joy then goes to the Imaginary Boyfriend machine and prints copies of the boys. She pushes Sadness towards Family Island. Using these boys, Joy basically makes a tower to stand on. She then tells them to fall forward, and she jumps onto the trampoline of Family Island before it falls, catching Sadness on the way. The two slam into one of the windows of HQ. Anger, Disgust, and Fear rush towards them, with Disgust winding up Anger so she can use his fire to break the window open. The three tell Joy to fix Riley, but she passes that responsibility over to Sadness. Sadness takes a deep breath and takes out the light bulb from the console, removing the thought from Riley’s head. She immediately gets off the bus.

At home, Riley’s parents are relieved to see she’s back unharmed. Sadness returns Riley’s Core Memories, turning them blue, which allows Riley to tell her parents that she misses home. It turns out her parents miss home too. The three comfort each other with a big hug. This creates the first mixed emotion memory for Riley. Family Island is restored.

One year later, Riley is twelve, and has begun to accept her new life in San Francisco, making friends, and joining the hockey team, with new Personality Islands forming too, like Boyband Island and Tragic Vampire Romance Island. Joy has also begun to accept Sadness in Riley’s mind, and more mixed emotion memories have been created. They soon find that the Memory Workers have expanded their console, with a new red button marked “Puberty” on it. Joy tells them not to worry about it; it can’t be that important.

In a mid-credits scene, we get to see inside the minds of others, including Riley’s teacher, who is counting down the days until she can go on vacation, seemingly to meet up with the same helicopter pilot that Riley’s mother once knew; a cool girl from Riley’s school who is finding it exhausting keeping up this façade that she’s too cool to care; and even a cat’s mind, where its Fear emotion plays about with the console, making the cat randomly go crazy in the real world. Oh, so that’s why cats do that!

CHARACTERS & CAST

Joy believes herself to be the leading figure of the five emotions that reside in Riley’s mind. She was the first one to be there to support Riley and she has vowed to keep Riley happy for the rest of her life. Happiness is the key emotion that many people strive for, however, that does not mean that you have to spend every day and every minute of your life feeling happy. That’s unrealistic and not even sustainable. So, on this journey through Riley’s mind, Joy has to accept that she cannot be the driver of Riley’s life all the time, and that even though she perhaps views the other four emotions, particularly Sadness, with scepticism over how much they improve Riley’s life, Joy has to accept that Riley can’t always be happy and that sometimes Sadness is necessary to help Joy do her job. Because Joy is enthusiastic and positive, she was designed to be a constant glowing spark, her light shining on to those around her, with a big sunny smile to match. Joy’s shape was based on a star.

Joy was voiced by Amy Poehler. Poehler was a cast member on the sketch comedy series Saturday Night Live (1975-present) from 2001 until 2008. After that, Poehler was cast as Leslie Knope in the popular sitcom Parks and Recreation (2009-15), for which she was nominated for numerous Primetime Emmy and SAG awards, winning a Golden Globe in 2013 for her role. She is also known for her collaborations with former SNL writer and performer Tina Fey, being cast as Regina George’s mother in Mean Girls (2004), written by Fey, and appearing alongside her in other movies like Baby Mama (2008) and Wine Country (2019), with the latter being directed by Poehler. Poehler won a Nickelodeon Kids’ Choice Award, a Women Film Critics Circle Award, and an MTV Movie Award for her voice role here.

Sadness is the least confident of the emotions, being quite insecure and unsure of her purpose in Riley’s mind, probably because Joy has spent eleven years trying to keep Sadness away from Riley’s memories and the HQ console so she doesn’t mess anything up. After helping Joy journey through Riley’s mind, Sadness is “rewarded” with Joy ignoring all of her ideas, like scaring Riley awake which turns out to work, and is then left behind by Joy as she tells Sadness Riley needs Joy more than her, causing Sadness to fly around on a cloud, crying her eyes out, believing she is useless and harmful to Riley. Joy has to convince Sadness that she was wrong all along and that Riley needs to feel sad at times to improve her mood. In the end, Sadness is the hero who makes Riley feel again. Sadness was initially going to be a male character named Bud who looked like a big blue blob. Sadness was then redesigned by artist Albert Lozano, who drew Sadness to look more like his mother. Sadness is shaped like an upside-down teardrop[1].

Phyllis Smith was the voice of Sadness. She is perhaps best known for her role as Phyllis Vance in sitcom The Office (2005-13), as well as her appearances in comedy films such as Bad Teacher (2011), alongside Cameron Diaz. Smith won the Annie Award for Outstanding Achievement for Voice Acting in a Feature Production for her role as Sadness.

The next emotion to mention is Fear, the one who alerts Riley to real-life physical threats, like tripping over things or getting hurt, as well as the emotionally-charged dangers, like being laughed at on her first day of school. Fear is incredibly neurotic, getting worked up at the smallest thing, and catastrophising everything, but hey, I guess that’s his job. Fear was shaped to look like a nerve.

Bill Hader was cast as the voice of Fear. Hader was a cast member on Saturday Night Live (1975-present) from 2005 until 2013, also appearing in comedy films such as Forgetting Sarah Marshall (2008) as Brian Bretter and Night at the Museum: Battle of the Smithsonian (2009) as George Custer during this time. He had also voiced roles in animated movies prior to Inside Out. These roles include the main role of Flint Lockwood in Sony Pictures’ Cloudy with a Chance of Meatballs (2009) and its 2013 sequel; and Guy Gagné in DreamWorks’ Turbo (2013). Hader has voiced characters in other Disney and Pixar movies too, including J.P. Spamley in Ralph Breaks the Internet (2018) and Featheringhamstan in Lightyear (2022). Hader also co-created, partially directed, and starred in the dark comedy series Barry (2018-23), for which he won two Critics’ Choice Awards and two Primetime Emmy Awards for his acting role, and three Directors Guild of America and three Writers Guild of America Awards for his creation of the show.

Another emotion we meet is Disgust, who was initially designed to be disgusting herself, before the animators decided that wasn’t an appealing character design. Instead, she ended up being shaped like a piece of broccoli, which she ironically despises, albeit a well-dressed piece of broccoli! Disgust is first introduced to tell Riley not to eat the broccoli she is about to be fed, but her disgust spans more than just food, moving into fashion choices and even Joy’s suggestions about just going up to cool girls and talking to them!

Disgust was voiced by Mindy Kaling. Kaling was also cast in The Office (2005-13) in the role of Kelly Kapoor, before creating her own show, The Mindy Project (2012-17), where she starred as Dr. Mindy Lahiri. She has also appeared in comedy films, such as Ocean’s 8 (2018) where she was cast as Amita, and Late Night (2019), playing the part of Molly Patel. Kaling recently co-created a new show for Netflix, Running Point (2025-present), which stars Kate Hudson in the main role. Kaling is no stranger to voice acting either, having voiced the characters of Taffyta Muttonfudge in Wreck-It Ralph (2012) and Val Little in Monsters at Work (2021-present) for Disney; and the title role of Velma in the animated Scooby-Doo spin-off series Velma (2023-24).

The final emotion to mention is Anger, who is obviously the one who gets angry at everything, wanting things to be fair for Riley and not wanting to feel disrespected by anyone. Anger is the primary driver behind the idea to get Riley to run away and go back to Minnesota, something that he felt was a good idea after being annoyed at their lack of progress in creating Core Memories without Joy. He was basically at the end of his tether, but even Anger accepts that this was not the way to fix Riley in the end. Anger is rigid and immovable, so his character design was shaped to be like a brick[2].

Anger was 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. Black also had his own series on Comedy Central titled Lewis Black’s Root of All Evil (2008).

The other main character in Riley’s mind is Bing Bong, Riley’s imaginary friend, a creature that is part cat, part elephant, part dolphin, made of cotton candy and cries candy! Bing Bong has found himself living out the rest of his days in Riley’s Long-Term Memory but fears he will be forgotten soon as Riley is growing up and no longer needs an imaginary friend. He hopes that by helping Joy and Sadness get back to HQ that they’ll be able to get Riley remember him, but that never happens. Instead, Bing Bong sacrifices himself to the Memory Dump to allow Joy to return to HQ and make Riley happy again. It’s a heart-breaking moment, seeing Bing Bong fade away in that place…

Bing Bong is the most lovable and likeable of all the characters in Inside Out and I think that has a lot to do with his voice actor, Richard Kind. On stage, Kind has appeared in a variety of plays and musicals, including as Max Bialystock in The Producers Broadway production from 2004 to 2005, and at the Hollywood Bowl in 2012; as Andre Thibault in a 2005 Broadway production of Dirty Rotten Scoundrels; and as Marcus Hoff in The Big Knife, for which he was nominated for a Tony Award for Best Featured Actor, and won the 2013 Drama Desk Award for Outstanding Featured Actor in a Play. On screen, Kind was recently seen in Season 4 of Only Murders in the Building (2021-present), playing the part of Vince Fish, and as Caroll Mintz in the Hulu series Mid-Century Modern (2025). He also appeared in Tick, Tick…Boom! (2021) as Walter Bloom, and portrayed Rudy Giuliani in Bombshell (2019). Kind had also previously worked with Pixar prior to Inside Out, having voiced Molt, Hopper’s brother, in A Bug’s Life (1998) and Bookworm in Toy Story 3 (2010).  

For the human characters, we have Riley and her parents. Riley is initially a very happy child, having a keen interest in hockey, getting on well with her parents, and having lots of friends. Even when they move to San Francisco and things aren’t looking so great, Riley tries her best to make the most of the situation, although it is difficult. It’s not until Joy and Sadness depart HQ that Riley really struggles, losing parts of her personality and slowly becoming emotionless, to the point that she feels like running away is the best option. Thanks to her acceptance of how she feels about the move, and Joy and Sadness returning to HQ, she is able to go to her parents and tell them how she feels. Her parents are non-judgemental, caring figures so they listen to Riley’s thoughts, and tell her that they feel the same way, missing home and feeling a little bit scared too.

Riley was voiced by Kaitlyn Dias, who apparently pictured her cat dying in order to cry on cue for the recording of Riley’s most emotional moments. Talk about commitment to the role[3]! For Dias, this was one of her first roles, winning a Young Artist Award in 2016 for the category Best Performance in a Voice-Over Role – Young Actress. Diane Lane voiced Riley’s mother, having 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 voiced Riley’s father, who had roles in many television series, including as Special Agent Dale Cooper in Twin Peaks (1990-1991; 2017); and as Trey MacDougal in Sex and the City (1998-2004).

Those are all the main characters, although there are some other fun voice cameos. Two of these are Frank Oz and Dave Goelz who voiced the guards who guard the Subconscious. Oz and Goelz are well-known for their puppetry work and collaborations with Jim Henson on the Muppets; Fraggle Rock (1983-87); and Sesame Street (1969-present). Oz has also directed movies such as The Dark Crystal (1982), Dirty Rotten Scoundrels (1998), and Little Shop of Horrors (1986). Goelz voiced Figment in the 2002 version of the Epcot attraction Journey Into Imagination with Figment.

Then there is Rashida Jones, known for her roles as Karen Filippelli in The Office (2005-13) and Ann Perkins in Parks and Recreation (2009-15), amongst many others, who voices the Cool Girl’s emotions, and of course, John Ratzenberger appears as Fritz, the Mind Worker who installs the updated console in HQ at the end of the movie. Ratzenberger had voiced a character in every Pixar movie up until Onward (2020) but would not return as a voice cameo for the studio until the release of Inside Out 2 (2024).

PRODUCTION

The basic premise of Inside Out came from the personal experience of Inside Out director Pete Docter and his daughter, Elie. Elie was the inspiration for 11-year-old Riley, with Elie Docter having previously been the model and voice actor for Young Ellie in Up (2009).

It is not unusual for parents to notice a change in their children, especially as they enter adolescence, and this was the case for Docter, who said his daughter had been outgoing, energetic, and goofy, but she all of a sudden became quiet, self-conscious, and moody, getting panicked about school sometimes. Docter wanted to understand what might be going on inside Elie’s head, so he made a movie about it!

Docter was interested in that weird place between childhood and adulthood, where the mood can switch between wanting to be a kid and play around and wanting to be treated like an adult, seemingly at random. Though Elie Docter adjusted to becoming a teenager, being sixteen at the time Inside Out was released, Docter wanted to show what it might be like inside the mind of the child when the parents see the light go out in their child’s eyes, and they become emotionless and difficult to reach.

Docter also used some of his own experience growing up in Minnesota, like Riley. He had found middle school particularly stressful, being labelled as a “geek” for not being good at sports, with this causing some social anxiety. Docter even had his own imaginary friend like Riley. Docter’s imaginary friend was a small elephant called Norma who drove a car[4]!

Docter, screenwriter Meg LeFauve, who also wrote the screenplay for Pixar’s The Good Dinosaur (2015) around this same time, and Josh Cooley, who had worked as a story artist on Ratatouille (2007) and Up prior to Inside Out, began writing the story for Inside Out around 2010. However, as is the case with the majority of movies, although the basic idea of Inside Out was there, it took some time to properly decide on the overall plot of the film, with ideas being thrown in and tossed out over the coming months and years of development.

Joy was the most challenging character in Inside Out, because she represents the simplicity of childhood, but how does that relate to a girl who is quickly growing up? Initially, it was thought that perhaps Joy just wanted Riley to be happy so the whole story revolved around making Riley enjoy every day of her life, but that quickly became monotonous and superficial. So, the filmmakers thought: what if Joy is so passionate about keeping Riley in the safety and joy of childhood that she becomes nasty? Some of the Inside Out deleted scenes shed light on what this might have looked like. For example, there were moments when Joy was being self-centred and blind to the world, like not understanding why Riley would have to do chores and do homework at her age, and why she shouldn’t still be playing with her food or messing about during concerts. There was another scene of Riley at school where Joy was trying to get Riley to forget about making friends, something that the other emotions were actively wanting for Riley, and to go play on the monkey bars instead, and even said she wanted Riley to spit in these girls’ faces. Riley refused to listen to these “voices in her head” and made friends anyway, much to Joy’s surprise.

This idea didn’t work because it made Joy a difficult character to like. It was then decided that Joy should be paired up with another emotion through Riley’s mind, because then she’d have someone to bounce off and learn things from. Initially Joy was paired with Bud, an early design for Sadness, but the characters didn’t work together. Joy was later paired with Fear, with some of this storyline present in the deleted scene “Imagination Park”. Here, Joy was trying to get back to HQ, but Fear thought Joy was heading back to take it over, presumably to make Riley stay a child forever. Joy managed to outrun Fear who was chasing her with a Mind Worker, and get into Imagination Park. Joy continues to run through the area, still being pursued by Fear until she leads him into a room where a monster tries to get him. Fear sucked the monster up into a memory tube, but accidentally sucked himself into it too. Joy picked up the gun with Fear inside, with Fear apologising for his actions.

Joy paired up with Fear didn’t work either, so she was eventually paired up with Bing Bong, who was made to be Joy’s tour guide through Riley’s mind, but was also a type of radical non-conformist, dead set against the demolition of Imagination Park and expansion of the area to include areas about boys, sarcasm, and swearing. Bing Bong took Joy into this area and encouraged her to throw bricks at the workers. They ran out of the area to catch the train, despite the fact Joy was aware they were not even being chased.

There were other story ideas that just didn’t work. One deleted scene showed Joy looking for a Core Memory she had dropped in some water, and swimming to a beach where she found the memory broken. On the beach was a big house. Joy went inside and saw a young Riley dancing in a room. Young Riley wanted Joy to dance with her forever, but Joy finally accepted that she had to let go of Young Riley and allow her to grow up. Another early draft saw multiple emotions residing inside Riley’s mind, each with their own name that wasn’t just their emotion. For example, Fear was once called Freddie and Anger was called Ira. Preston, the Pride emotion, was a core member of the group initially, later replaced by Disgust, and other emotions such as Ennui and Schadenfreude made cameo appearances[5].

It’s evident that many different ideas were bounced around during early development on Inside Out, but a couple of years into the making of the movie, Docter found himself overwhelmed by this struggling story and uncertain of whether this was the movie he should be making. Joy was unlikeable, trying to resist Riley growing up, and there was no concept of Riley adjusting to a move from Minnesota to San Francisco. Docter knew something wasn’t right with his story, and went for a walk to try and figure out how to fix it.

Through this walk, Docter contemplated the relationships in his life and the fact that they were the most important thing to him. Docter recalled all the happy moments he’d had with family and friends, but he also knew that he had been through many sad, troubling times with these same people. It appeared to be a real light-bulb moment, where it became clear that this movie had to be about Sadness and Joy, with Sadness teaching Joy the lesson that happy moments can sit alongside sad moments[6].

With this new plan in mind, Docter knew the whole movie would have to be re-storyboarded and would mean going through the producers, Pixar president Ed Catmull, and Chief Creative Officer at Pixar John Lasseter, to approve as this would affect the movie’s production schedule. Despite Docter’s worries, they were very understanding and allowed the film to go through some major re-writes[7].

There was also additional help from scientist and psychologists, who explained the nature of emotions and the science of memory to help the Pixar filmmakers with their story. According to psychologist Paul Ekman, there are six key emotions: Anger, Fear, Disgust, Joy, Sadness, and Surprise. Obviously, Pixar made their core team around five of these emotions, with Surprise being considered too similar to Fear and being dropped. It was also decided that different emotions would drive characters’ minds in Inside Out, so Riley is driven primarily by Joy in childhood, however, during the dinner scene where Riley gets in an argument with her father, you can see that Riley’s mother’s mind is headed up by Sadness, whilst Riley’s father’s mind is driven by Anger. This wasn’t meant to be a stereotyping of male and female adults, but instead, was meant to show that Joy likely will not be leading Riley’s console into adulthood, but another emotion will.

Emotions are heavily linked to memories, both in Inside Out and in the real world, so discussions about memories were also necessary for research. Pixar talked to the Mind Brain Behavior Institute in Columbia, who said that the most emotionally charged memories are the ones that are most likely to be remembered. They also stated that when we recall a memory, we are actually making a copy of that memory, not remembering it as though it has just happened. This creates some reliability even in eye witness accounts as not only can emotions alter facts, but memories change and can be altered based on conversations with others and outside influences, meaning they aren’t all that reliable[8].

This idea of memories not being overly reliable isn’t particularly relevant to Inside Out, since Riley isn’t a witness in a court case or anything, however, the memories being emotionally charged is relevant to the movie, as we see when Sadness and Joy are discussing the same memory about Riley and her hockey team, but are remembering it differently, with Joy remembering the happy celebratory mood of Riley’s teammates and parents, and Sadness remembering the guilt and upset at not scoring a winning goal.

Other mind-related topics were explored and researched too. Dacher Keltner, psychology professor at the University of California, Berkeley, discussed what makes people happy with true deep happiness not being about material things, like wealth and expensive things. Dreams are another factor of the mind present in Inside Out. The use and meaning of dreams are debated heavily in science, with some saying they are the brain’s way of working out issues, whilst others reckon they are just random firing of neurons and mean nothing much at all[9]. For Inside Out, to avoid this debate, the filmmakers chose to make dreams a form of entertainment, being created and filmed like a movie, with Dream Productions being reminiscent of a working movie studio.

In terms of animation, we get to see a representation of the real world, complete with landmarks of San Francisco, like the Golden Gate Bridge. Alongside that, we see a colourful, cartoony version of the human mind. If Pixar had chosen to visually represent the brain, it would’ve been fairly simple, as we have access to scans of the human brain, what it looks like and how it works. But this is the mind, not the brain, which is much less easy to understand and even more difficult to represent.

Pixar made the mind a bright, colourful place, with clever ways of representing turns of phrase or metaphors we use when discussing the inner workings of our minds, such as the Train of Thought being an actual train, and Abstract Thought getting its own space, where Sadness, Joy, and Bing Bong are broken down from their 3D forms down into basic shapes, like they are being “de-animated”. We also see that memories are created in what seem to be glass balls, with these being stored in shelves in HQ before being unloaded into Long-Term Memory, where memories are stored again on shelves, with faded or useless memories being disposed of in the Memory Dump, where the mind then forgets them. Pixar even thought about how we get random songs pop into our heads, like the Triple Dent Gum jingle. In Inside Out, the Mind Workers like to send the memory up into HQ where it then plays. There are so many other clever ideas in Inside Out that you can sometimes get caught up in the cleverness of the film and forget about the emotional core of the story.

Every Pixar movie has to have a list of Easter eggs and Inside Out is full of them. For instance, when Riley is video chatting her friend, there are a list of Riley’s contacts on the left-hand side of her screen. These include DocPete, Ronnify, and Domeeeee. These names relate to Pixar employees who worked on Inside Out. DocPete is obviously Pete Docter, the director; Ronnify is likely Ronnie del Carmen, who was co-director and co-creator of the story, having been a story artist on other Pixar movies such as Ratatouille (2007) and WALL-E (2008) previously; and Domeeeee is Domee Shi, a storyboard artist on Inside Out, going on to direct the feature films Turning Red (2022) and the upcoming Elio (2025).

There are also references to other Pixar movies. The Chinese takeaway boxes that Riley and her parents are eating from resemble those of Harryhausen’s in Monsters, Inc. (2001); the memory of Riley sliding down a slide looks just like the one in Sunnyside Daycare from Toy Story 3 (2010); and that memory of Riley and her parents taking pictures by dinosaur statues on their drive to San Francisco are a reference to the movie release that came after: The Good Dinosaur (2015), with those dinos matching Arlo, the main character, and the eccentric Styracosaurus Forrest Woodbush.

For the necessary Pixar Easter eggs that appear in every Pixar film, A113, the number that represents the room that many of the original Pixar animators studied in at CalArts, is the number of Riley’s classroom door, and can also be seen in graffiti on the streets of San Francisco. The iconic Pizza Planet truck is pictured in two memory balls, one during the scene of Joy chasing Bing Bong through Long-Term Memory and the other whilst they are on the Train of Thought.

In 2013, at the D23 Expo, the logo of Inside Out was revealed as were the five emotions that the movie would focus on, although the logo did become something very different in the end. The original logo seemed to be the outline of a human head with “Inside Out” written inside it. About a year before Inside Out’s release, Pixar screened the movie to children, concerned it was too confusing and complex. They were delighted to find that kids did in fact understand it, and used information from the film to help them open up to their parents about how they were feeling[10].

Disney Parks fans might have noticed after viewing the movie that Inside Out is quite similar to a now-closed Disney theme park attraction. This attraction was Cranium Command which opened in the Wonders of Life pavilion in Epcot at the Walt Disney World Resort on 19th October 1989. It consisted of a short-animated pre-show, followed by a theatre experience. In this pre-show, guests saw General Knowledge talking to a group of recruits about their important job of piloting human brains. A small, young recruit named Buzzy is late to this meeting, annoying General Knowledge, who then forgets to assign him to a brain to pilot, meaning Buzzy is left with the most difficult brain: the brain of a 12-year-old boy! Guests were then led to a theatre, where they saw a stage of control panels and screens and were reunited with Buzzy, now in full Audio-Animatronic form. With this animatronic and screens, we saw Buzzy interact with different parts of the body, like the Stomach and the Bladder, to get Bobby, the boy whose brain is being piloted, through a day at school where he gets in trouble for fighting and meets new girl Annie. Cranium Command ran until 1st January 2007, when the Wonders of Life closed permanently as a pavilion, becoming used as an Epcot Festival space for a few years. I loved Cranium Command and remember watching it a lot when I was younger during my trips to Walt Disney World. My mum and I would go and see that whilst my dad and older sister went on the simulator ride Body Wars which was too gross and intense for me!

Strangely enough, the closing of Cranium Command was not the end of Buzzy’s story because around 2018, when “urban exploring” was all the rage – especially for those with YouTube channels – many liked to break into the Wonders of Life pavilion, since it was no longer being used. The Buzzy animatronic was stolen around this time, with only the animatronics’ clothing being tracked down, to NBA player Robin Lopez and his friend who had bought the clothing, unaware that the items had been stolen. The Buzzy animatronic has never been found…

Cranium Command was not stated as a specific source of inspiration for Inside Out, however, the similarities are clear if you know of this attraction. Pete Docter had interned as an animator at Disney early in his career and was sent to work on the animated sequence for Cranium Command. Docter did not initially notice these similarities between the attraction and his film until they were pointed out to him, though he did admit it must’ve been in his subconscious somewhere[11]!

MUSIC

The soundtrack for Inside Out had to evoke feelings of imagination and wonder, alongside big emotional moments.

The iconic theme for Inside Out can be heard in the opening track “Bundle of Joy”. This piece of music sums up the whole style of the movie. This theme is repeated in different places throughout the movie, usually in scenes of HQ and more familiar parts of Riley’s mind, like Long-Term Memory.

However, there are other parts of Riley’s mind that are very unfamiliar to Joy and Sadness, such as Abstract Thought. It initially looks like Bing Bong, Joy, and Sadness are just going to walk through an empty building but when it is turned on, Abstract Thought becomes a strange place. The piece “Abstract Thought” mimics the terror and confusion that these three characters feel as they begin to deconstruct and try desperately to get out. Another area with its own piece of music is “Imagination Land”. This sounds just like the music you’d hear in an amusement park; it’s bouncy and cheerful.

The track “The Subconscious Basement” had to feel scary and like something bad could happen at any moment, to match the dark corners of Riley’s mind where her greatest fears are held. At this point, Joy and Sadness have had to go into the Subconscious to rescue Bing Bong who was dragged there by security. Whilst there, they encounter a huge, creepy clown called Jangles. “We Can Still Stop Her” is another scary moment, but this time it takes place in the real world, as Riley goes to catch a bus back to Minnesota on her own. Again, it feels like something bad could happen to Riley, and is almost more terrifying because it’s a scene from the world we know, so we are aware of what could’ve happened.

In amongst those moments, Giacchino’s score also had to match weighty emotional moments, however, instead of turning to big orchestral sounds, he went small on these pieces, knowing that when someone needs help with their feelings, it’s better to be quiet and supportive, just taking in what they’re saying. This is evident in “Joy Turns to Sadness/A Growing Personality”, which can be heard when Riley returns home to her parents and tells them she’s miserable being away from Minnesota. The main theme returns here too, as the end of this piece becomes happy, and we learn that Riley is slowly adjusting to her new life.

There are also two other “songs” that appear in the film. One is the catchy Triple Dent Gum jingle, which is meant to resemble those annoying, little tunes that you can hear on television adverts that then get stuck in your head for days, and Bing Bong’s song about his magical rocket that is powered by song power. This is a silly, rhyming song, but naturally, it had to be, as a very young Riley would have written it herself.

The music for Inside Out was composed by Michael Giacchino, who was no stranger to Pixar, having already composed the music for The Incredibles (2004); Ratatouille (2007); Up (2009), for which he won the Oscar, BAFTA, Golden Globe, and Critics’ Choice Award for Best Score; and Cars 2 (2011) by the time of Inside Out. Giacchino continued to collaborate with Pixar after Inside Out, composing the scores for Coco (2017); The Incredibles 2 (2018); and Lightyear (2022). Outside of Pixar, he has composed music for the most recent Spider-Man films and for the series of Disney television Christmas specials, Prep & Landing (2009-11). Giacchino was also nominated for Primetime Emmy awards for his work on the series Lost (2004-10), winning one for his underscore of its pilot episode. He even composed the music for Disney Animation’s Zootopia (2016).

Giacchino was contracted to writing the music for two other movies, alongside Inside Out, with all three set to be released in 2015. These very different films were Disney’s science-fiction live-action movie Tomorrowland, which starred George Clooney, and the action film Jurassic World, the first movie in a three-part reboot of the Jurassic Park trilogy[12]. Another movie he worked on which was also released in 2015 was Jupiter Ascending.

Inside Out’s soundtrack ended up winning the Annie Award for Outstanding Achievement for Music in a Feature Production. It also won Best Original Score for an Animated Film at the International Film Music Critics Association. Giacchino himself won the Film Composer of the Year award at the World Soundtrack Awards. The movie’s soundtrack was also nominated for Best Original Score in an Animated Film at both the Satellite Awards and the Hollywood Music in Media Awards.

RECEPTION

Inside Out debuted at the 68th Cannes Film Festival on 18th May 2015, before having its official premiere at the El Capitan Theatre in Los Angeles on 8th June 2015.

Inside Out then debuted in theatres in the US on 19th June 2015, reaching theatres across the world in the days and weeks that followed. It was released alongside the Pixar short Lava (2014), an all-singing short about two volcanoes who fall in love. This is one of my favourite Pixar short films. The musical track that accompanies the whole story was written by James Ford Murphy, also the director of the short film, and performed by Kuana Torres Kahele and Napua Makua.

Because of Inside Out being a specific expression in the English language, in non-English-speaking countries, the title was changed for its release in those countries. For example, in Portuguese, the film became known as Fun Mind; in Italian, as Intense Mind; in French as Vice-Versa; and in Cantonese as Fun with Brain Friends[13].

Inside Out was highly praised on its release by critics and audiences alike. Many said this was Pixar at their best after the disappointment they felt at Cars 2 (2011) and Monsters University (2013), with this being a new story from Pixar, not just another sequel or prequel to add to an ever-growing franchise. Yeah, more on that later… Inside Out was both heartfelt and inventive with a good message and plenty of laughs. Some even claimed it was already a Pixar classic.

However, there were a few less-than-positive comments. Some said it was a bit too fast-paced, not allowing enough time to enjoy the areas of the mind, and that it was simply not entertaining enough for small children. It was also felt that Riley was not developed properly as a character of her own and that the number of obstacles that Joy and Sadness kept facing to get back to HQ became annoying and endless. I can agree with both of these to some point. At the beginning, Joy and Sadness’ journey is quite interesting, but then it does become a bit stale and boring. At these moments, I found myself wanting to get back to Riley and the other emotions, but there weren’t too many scenes of that. There are also those who think Inside Out is just overrated.

Inside Out 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, behind movies like Star Wars: Episode VII – The Force Awakens; Jurassic World; and Furious 7. These were the top three spots, with each of them being reboots of beloved franchises or continuations of current ones. Inside Out was the second highest grossing animated movie of 2015 though, with Disney Animation not releasing a movie that year. Minions topped the list though, with $1.1 billion as its worldwide gross, but again, this was a spin-off of a popular animated franchise.

But that was not all because there were of course awards that Inside Out won. 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

The first screen spin-off to come from Inside Out was the short film Riley’s First Date? (2015). It was first released as part of the Inside Out digital release, before also being featured on its Blu-Ray release in November 2015. It was written and directed by Josh Cooley, with the voice cast from the movie returning to reprise their roles.

In this short, which follows the events of Inside Out, Riley’s father answers the door to find the teenage boy from the end of the film stood there. This boy is named Jordan and has shown up to go skating with Riley. Riley’s dad instantly doesn’t like this, nor does Riley’s mother, believing she’s much too young to have a date. Riley’s mother decides to try and figure out if this is a date by trying to be “cool”. Riley and her emotions are confused by what her mother is trying to do, but reiterate it is not a date; they are going skating with friends. Meanwhile, Riley’s father’s mind wants to try and intimidate Jordan by staring him down but Jordan isn’t even paying attention as we see from his mind, where his emotions are skateboarding around his mind. In the end, Riley’s dad and Jordan bond over guitars and rock bands, since Jordan is in one and Riley’s dad used to be in one. Riley goes downstairs, horrified to learn that Jordan was left alone with her dad, and sees the two air guitaring. Riley and Jordan quickly leave the house. Riley’s mother and father’s minds then decide whether one or the other is going to lean in for a kiss. They do kiss – and then go back to their day!

After that, there were comparisons between the concept of Inside Out and that of the 2020 Pixar release Soul, with many elements of the Great Before seemingly at least partially inspired by the ideas of the mind in Inside Out.

Then, in September 2022, at the D23 Expo – because where else do Disney and Pixar announce things? – it was confirmed that Inside Out 2 was coming, despite the fact Pete Docter had said shortly after Inside Out’s release that Pixar were committed to making more original films…Hmm, yeah, that worked out! Inside Out 2’s release was set for Summer 2024. Meg LeFauve was back as the screenwriter, with Kelsey Mann replacing Docter as director of the sequel. It was revealed that Inside Out 2 would take place inside Riley’s now-teenage head with new emotions coming[14].

Also on screen, but this time on Disney+, the series Dream Productions premiered on the platform on 11th December 2024, having first been 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.

At the Disney Parks, Disneyland has the most references to Inside Out, most notably at the Pixar Pier location in Disney California Adventure Park. Here, 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. 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. Joy and Sadness have been available to meet in Pixar Pier for a while, and Anger was spotted recently too.

Prior to Inside Out’s release in June 2015, there was also an Inside Out pre-parade at Disney California Adventure during Summer 2015 in order to promote the film. It involved one float with all five emotions on it. These emotions were mechanical figures but they did move their mouths to speak random lines, such as having conflicting opinions on babies and Sadness talking about kids dropping their ice cream cones! There were also dancers ahead of the float dancing with memory balls.

Pixar Fest was a big event for Disney California Adventure, running from 26th April all the way until 4th August 2024. This event helped to promote Inside Out 2, meaning that the main emotions from Inside Out were visible during Pixar Fest. For example, 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.

Finally, the Pixar Place Hotel, which opened at the Disneyland Resort on 30th January 2024 contains 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.

This time at Walt Disney World, the first Inside Out reference seems to have been the Inside Out Emotion Garden which was a small exhibit of plants linked to the five emotions of the film. This was installed as part of Epcot’s Flower and Garden Festival which began in March in 2015, so a few months prior to the release of the film. There was also an exhibit in the now-closed Magic of Disney Animation building in Disney’s Hollywood Studios showing development sketches and maquettes of the five emotions, which was apparently also available to guests around March 2015. In terms of meet-and-greets, Joy and Sadness used to have a meet-and-greet location at the Epcot Character Spot back in 2016, in a recreation of their home inside Riley’s head, 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 in the early 2020s, in front of an Imagination Land background, but in 2024, when Figment became a meet-and-greet character, it seems Joy was moved to having a scheduled meet-and-greet at Pixar Plaza, the area next to Toy Story Land, in Disney’s Hollywood Studios.

Outside of the US Parks, at Disneyland Paris, in the Worlds of Pixar area of Walt Disney Studios Park, Joy was meeting guests in the summer of 2024, as was Anger, seemingly as promotion for Inside Out 2, but Joy was still there in December of that year. It is unclear if she is still there. 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, Joy and Sadness were first meeting guests only at this park in an area set up to look like the inside of Riley’s mind, complete with the console, around July 2015, shortly after the movie was released. It wasn’t until a few months later that they were seen at other Disney Parks. In recent years, characters from the movie, like Joy, Sadness, and Anger, were included in the Pixar Water Play Street Party 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, 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, including plush toys, book, clothing, mugs, and playsets. These have only increased with the release of Inside Out 2.

There is even an interactive exhibit called Emotions at Play with Pixar’s Inside Out, which was developed by the Children’s Museum of Pittsburgh, focusing on the five core emotions of Anger, Joy, Sadness, Disgust, and Fear. It has been touring since 2023, with dates going as far out as 2028 to come to other US museums.

FINAL THOUGHTS

Pixar really impressed the public with the creativity and inventiveness of Inside Out. The filmmakers had managed to represent the mind in a fun, educational, and smart way.

Although the message of Inside Out is only too clear – that there is a need to feel a whole range of emotions including sadness – there continue to be those who don’t believe in this idea. They want to only show a positive, happy view of their life to the outside world. I’ve known people like that and it can make you feel like there’s something wrong with you if you don’t feel or act in the same way.

I’m not about to tell anyone how to feel, but I will say that it is much healthier to embrace your sadness, fear, anger, whatever in order to work through feelings and moments of difficulties. It’s much better to do that rather than bottle things up and try to deal with them internally with no-one to support you. I’m sure that many children and teenagers got a lot out of Inside Out and found ways to voice their feelings to their friends and parents to get through that transition from childhood to adulthood.

We see Riley struggling to be 11-years-old, adjusting to a whole new life away from friends and in an unfamiliar city. Little did she or her emotions know what was still to come, because being a teenager comes with even more inner turmoil!


REFERENCES

[1] Credit: D23, ‘The Ins and Outs of Inside Out’, D23.com, date unknown.

[2] Credit: Pixar, “Mixed Emotions”, from Inside Out (2015) Blu-Ray (2015).

[3] Credit: Ben Sherlock, ‘Meet The Little Voices Inside Your Head: 10 Behind-The-Scenes Facts About Inside Out’, ScreenRant.com, 9th June 2020.

[4] Credit: Lisa Miller, ‘How Inside Out Director Pete Docter Went Inside the 11-Year-Old Mind’, Vulture.com, 16th June 2015.

[5] Credit: Pixar, “Deleted Scenes”, from Inside Out (2015) Disney+.

[6] Credit: Pixar, ‘Story of the Story I Inside Out I Disney•Pixar’, Pixar YouTube Channel, 17th October 2016.

[7] Credit: Carolyn Giardina, ‘Making of ‘Inside Out’: Which Emotions Didn’t Make the Cut’, HollywoodReporter.com, 21st December 2015.

[8] Credit: Tasha Robinson, ‘Pete Docter on the goals and milestones of Inside Out’, TheDissolve.com, 23rd June 2015.

[9] Credit: Alex Godfrey, ‘Pixar’s Pete Docter on the story (and science) of ‘Inside Out’’, Wired.com, 20th July 2015.

[10] Credit: Lisa Miller, ‘How Inside Out Director Pete Docter Went Inside the 11-Year-Old Mind’, Vulture.com, 16th June 2015.

[11] Credit: Logan Kelly, ‘‘Inside Out’ Was Inspired by a Disney World Attraction – Even If the Director Didn’t Realize It’, Collider.com, 27th July 2024.

[12] Credit: Kara Warner, ‘Michael Giacchino on Making the Music of ‘Inside Out’ & ‘Jurassic World’’, ScreenRant.com, 17th June 2015.

[13] Credit: Ben Sherlock, ‘Meet The Little Voices Inside Your Head: 10 Behind-The-Scenes Facts About Inside Out’, ScreenRant.com, 9th June 2020.

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

#63 Moana 2 (2024)

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

BACKGROUND

First things first, consider this your spoiler warning. I like to go into detail with plot points, so you might want to ensure you’ve watched Moana 2 first before reading anymore.

Moana 2 was never meant to be a feature film. It began its life as a series, created for and made to be streamed on Disney+.

This is actually not the first time Disney has done something like this. Atlantis: The Lost Empire (2001) already had a spin-off television series in development by the time the movie came out. However, due to a lacklustre reception and an underwhelming box office performance, the series was promptly cancelled. Instead, some storylines from the series were packaged together to make Atlantis: Milo’s Return (2003), a direct-to-video sequel to add to Disney’s ever-growing list in the 2000s. This sequel saw the team solve different mysteries around the world, but these stories didn’t link well and felt only too much like episodes of a series crammed together. I feared the same for Moana 2.

But I didn’t need to worry. That was not what happened. Moana 2 did have a cohesive storyline, and it was animated to a similar standard as the original, whereas Atlantis 2 was clearly not. What Disney actually did with Moana 2 was make a carbon copy of the original, almost scene-by-scene, and ripped off the original in many aspects, something I find to be a worse crime than simply making a low-quality, but different, sequel.

I don’t enjoy pointing out the flaws of the Walt Disney Company, and I’m not the best at it; there are many other Disney critics who can do that job for me. However, I have found myself increasingly irritated at the state of Disney and Pixar’s animated movies. They seem incapable of making anything new these days, not wanting to shoulder the risk of a movie not doing well. I understand that the COVID-19 pandemic in particular made movie-making difficult, and the fact that less people had been visiting the cinema meant that lower budget, streaming-friendly films were all the rage, but I don’t think this is an excuse.

Since the pandemic, Disney Animation has struggled with both box-office results and reviews for some of their latest movies, like Strange World (2022) and Wish (2023). I didn’t find anything negative about either of them, and actually really liked Wish. Since then, though, what can we look forward to from Disney Animation? The previously announced Zootopia 2, Frozen III, and of course, Frozen IV. I’m sure there will be another non-franchise movie released, but why bother making that the majority of your upcoming movies when you know just the idea of a continuing franchise, or a “reimagining” of a beloved classic, will bring the public into the movie theatres? I can just hear Bob Iger rubbing his hands together at the thought of all that money. That’s probably why Pixar have begun to do exactly the same, having recently announced Toy Story 5, Coco 2, and even Incredibles 3.

It just baffles me how a studio – or two, if you want to look at Disney and Pixar separately, as I do – that was founded on innovation and creativity can resort to such laziness. Because of this, I didn’t enjoy Moana 2, and instead found myself matching the scenes from Moana 2 to the original Moana as I was watching it. I couldn’t help it though; it was so blatant. I understand that companies need to stay in business and it’s always better to make a hit than a flop, but I don’t believe Moana 2 was the way to boost profits.

PLOT

Moana 2 is set three years after the events of the first movie and starts on mountainous terrain, where Moana is running through a forest with her pet pig Pua, and Heihei the rooster. She runs to the top of a mountain and blows a shell. It seems that she is looking for other island communities. Suddenly, Pua starts to slip, so Moana grabs him, but all three of them fall to the ground, and Heihei gets his head stuck in a coconut shell. Moana takes it off him, noticing a symbol on it, of an island. Moana thinks she’s found something special.

Moana hops back on her canoe to return to Motunui, her home. At the village, we see that the people are thriving and Moana’s story of restoring the heart of Te Fiti has become legendary, with young girls wanting to be just like her now. We also meet some new friends of Moana’s, like the farmer Kele; historian and Maui fanboy Moni; and Loto, the resident engineer and craftsperson. Moana shows the coconut shell to her father, believing that this must mean that there is another island they should search for. Moana also now has a little sister, Simea, who is unimpressed with the shell and with Moana’s voyaging plans. Moana takes Simea to the “place of ancestors”, where she talks about their ancestors and the heroic explorer, Tautai Vasa. She tells Simea of the importance of their voyaging heritage.

Later that evening, there is a feast on the island – and a representation of an ava ceremony, a sacred Samoan ritual with a specific ceremonial drink – where the title of Great Wayfinder or Tautai is to be bestowed on Moana. During the ceremony though, lightning strikes the central hut and Moana is hit. She sees a vision of Tautai Vasa, the last Great Wayfinder and her ancestor, who says Moana must find the island of Motufetu, an island that once connected all the islands of the Pacific, but which was sunk by the storm god Nalo. Tautai Vasa says that she must raise Motufetu once more to protect the people of Motunui, as the separation of the people of the ocean will weaken them all. Moana then sees a light in the sky, showing her the path to Motufetu. Moana knows what she needs to do, even if that means leaving her distraught sister Simea behind. Moana begins to assemble supplies for the long voyage, and this time also assembles herself a crew, with Loto, Kele, and Moni joining her on this journey. As the team is about to leave, Moana shows Simea that they will be connected by her friend, the ocean, during the time they are apart. A huge send-off is organised and Moana and her team set sail.

Meanwhile, Maui is looking to open the portal that will take him to Motufetu, however, he is being warned that should Moana go looking for the island, she will be hurt. Maui tries to fight off a demigod but he is captured, and tied up over a pit of weird-looking fish – mudskippers, apparently – with his magical hook just out of reach. He almost manages to grab it, when the demigod, Matangi, returns to stop him. Matangi works for Nalo, and she wants to meet Moana for herself.

Initially, Moana’s crew struggle to adapt to “boat life”, especially Kele, who is an elder and generally a grumpy one at that! Moana tries to encourage everyone to cheer up but they soon find a strong current moving their canoe. Except that’s no current; Moana sees that it is the Kakamora, the coconut pirates! Moana had an encounter with them on her previous journey and she is well aware of their tricks. However, as Moana prepares for another battle, the Kakamora float right past them. Confused, she turns around – only to see that her and her crew are about to be swallowed by a huge clam monster! With some quick thinking and smart manoeuvres, the team get away from the monster, but are soon confronted by the Kakamora again, who dart the group, paralysing them.

The Kakamora begin to explain that they are not looking to fight them, but might need their help. The Kakamora have simply been trying to return to their own island, since Nalo’s sinking of Motufetu has disconnected them from their home too. They just want to get back there. Moana sympathises with their plight, but she doesn’t know how to defeat the huge clam. The Kakamora then bring out a huge green slug, whose mucus will not only un-paralyse Moana and her friends, but will paralyse the clam. Moana takes three arrows with some of this slug mucus on the end of it, and her group travel into the mouth of the clam. It’s a real struggle trying to keep hold of these arrows, though, when this clam is intent on swallowing them, so naturally, Moana drops most of them. In the end, one of the Kakamora, Kotu, goes inside the clam to help paralyse the monster, but it is too late for them to get out and Kotu sacrifices all of them, sending him and the crew down the monster’s throat….

Inside, Loto, Kele, and Moni find themselves separated from Moana, but they still have Kotu and the canoe with them. Nobody knows where they are, but who should join them but Maui? Yes, this is where Maui was tied up by Matangi. But where is she? Matangi is with Moana, who was separated from the others. After seeing a vision of her sister Simea telling her she’s failed in her mission, Moana regains consciousness to find herself face-to-face with Matangi. Matangi claims to want to help her, telling her that she can only be free from Nalo if Motufetu is raised once more. Matangi seems dodgy, taking Moana on a rollercoaster ride through this lair, but she does reunite Moana with Maui and her crew. All of them end up at the portal that Maui tried to open earlier on. Moana is actually the one to open the portal. As the team set themselves up to sail through the portal, Matangi says she cannot go with them but wishes them luck on their journey. Hmm, is she dodgy or not?

Back out on the ocean, Moana is told by Maui that no human can get to Motufetu and that they will all most likely die trying to raise it – which is just what you want to hear when you think you’ve made some progress! The group are soon hit by huge eels, which the group must outrun. Moni falls into the ocean and is rescued from the eels by Maui. They continue to outrun the eels until the sun rises, at which point, all the eels flee. They come to rest on a small island, alive but with their canoe bashed up and her crew just a bit traumatised. Moana also discovers Tautai Vasa’s canoe washed up there, battered and almost destroyed. That doesn’t bode well for their own upcoming battle with Nalo.

Moana starts to regret her decision to come on this journey, fearing that she has now not only endangered herself, but the three people from her village she decided to bring with her. Maui tries to lighten the mood, encouraging Moana to keep going. Well, where was that enthusiasm earlier, Maui? You know, when you said they were all going to die? Anyway, Moana is feeling better now, and Loto has managed to fix up their canoe, using parts from Tautai Vasa’s vessel. Now, they need to outsmart Nalo.

They begin to sail towards the site of Motufetu, encountering a huge lightning storm, courtesy of Nalo. The plan is for Maui to use his hook to raise Motufetu. Once it’s raised, the humans will land on it, breaking Nalo’s curse. As Moana and her crew sail into the heart of the storm, crashing against huge waves, Maui uses his eagle form to fly through the various powerful tornadoes that encircle the site. The group see Maui use the hook to lift up the island, but as he struggles against the weight of it, Maui is struck with a lightning bolt from Nalo, weakening him. Moana then realises there is another way of reaching Motufetu. She dives down and swims to it, ready to touch it and break the curse. However, just as Moana touches the island and breaks the curse, she is struck by a lightning bolt and is killed.

Maui dives in to save her, but it is too late; Moana is dead. Maui sits in an air pocket created by the ocean, cradling Moana. He begins to chant, which calls the spirits of Moana’s ancestors to him. This includes Tautai Vasa and Tala, Moana’s grandmother. The spirits manage to revive Moana, who is rewarded for her actions with a tattoo across her arm. For her bravery, Moana is now a demigod, with a magical oar. Maui’s powers are also restored and he successfully raises Motufetu to the surface, with Moana proudly standing on top of it.

Moana blows her shell to signal that Motufetu has been raised, whilst the rest of the crew land on the island. They discover carvings of other islands all across the rock face of Motufetu, showing that this was once a meeting ground. Suddenly, Moana hears a shell. Looking to the horizon, they see other canoes arriving. They did it; they have managed to reconnect the ocean. 

Maui goes on ahead to Motunui and finds Simea, Moana’s little sister. He gives her a present, which is a rock that works like a binocular. He tells her to look through it. Simea sees Moana coming home! The ocean parts so that the two can be reunited quicker. Moana is welcomed back by her family and fellow villagers. Moana then announces that she may’ve brought back some friends. They all look up to see loads of canoes coming to the island, where these guests are also welcomed. Moana also voyages out to return Kotu, the Kakamora, to his own island, where the others have since returned. The movie ends with Moana, her crew, and Maui out on their canoe, heading out on their next voyage.

In a mid-credits scene, there is an additional part of the story. Here, we see Nalo talking to Matangi. He is furious at her for helping Moana and plans to enact his revenge on all of them. Tamatoa, the giant “shiny” crab, from the first movie also makes an appearance.

CHARACTERS & CAST

Moana has always been a very different type of “Disney Princess”. She is strong, brave, and independent, yet is also very caring and has a sense of duty and family. Moana may have succeeded in restoring the heart of Te Fiti, but she knows there is much more outside of Motunui to discover. In Moana 2, Moana wants to reconnect her people with those from other islands. When she sees a vision of how to do that, by raising Motufetu, Moana knows she must do this, regardless of how long it will take or how difficult it will be. However, just like in the first movie, Moana is torn about leaving her family, and this time around, she has her little sister, Simea, who is devastated at having to say goodbye to her big sister for an unspecified amount of time. But Moana knows it’s the right thing to do and believes she will always return to her family. In Moana 2, our main character is more confident this time around, both around wayfinding itself and battling powerful gods, although there are always moments where she loses her courage and must rely on Maui and friends to help.

Moana is once again voiced by Auli’i Cravalho. Cravalho was born and grew up in Hawaii. She never expected to make her acting debut in something as big as Moana, winning an Annie Award for Voice Acting for the role. Cravalho has since gone on to star in the drama series Rise (2018), playing the part of Lilette, and performed the part of Ariel in the TV special The Little Mermaid Live! (2019). More recently, Cravalho played the part of Janis in Mean Girls (2023) and voiced the main role of Hailey Banks in the animated Disney Channel series Hailey’s On It! (2023-24). Cravalho has also been starring in stage musicals, such as the title role of Eva Peron for Evita in Concert for two dates in 2023 in London, and as Sally Bowles in the 2024 Broadway revival of Cabaret, performing the role until March 2025 in her Broadway debut, alongside Adam Lambert as the Emcee. Cravalho also reprises her role in the Hawaiian language dub of Moana 2.

The demigod Maui makes a return in Moana 2. He used to be braggy and arrogant, although quite lovable, however, since his journey with Moana, the two now have a strong friendship and he fights to protect her. The underestimating of Moana and her strength has now stopped, and has progressed to affectionate teasing between them. Although Maui doesn’t reunite with Moana particularly early in the movie, or in their voyage, it is an obviously positive reunion between them. Maui is also there for Moana this time around when she is having a crisis of confidence, whereas in the first film, she had to help him, when he struggled to use his hook correctly, and even left her to fend for herself for a while when he felt there was no good end result for them in their dealings with Te Kā. Now, Maui has someone to fight for, a true friend, as well as someone to fight beside.

Wrestler-turned-actor, Dwayne “The Rock” Johnson returned to voice the character of Maui. Johnson is known for starring in multiple movies and franchises such as the Fast and Furious franchise from 2011 as the character Luke Hobbs, as well as Spencer in the new Jumanji movies (2017-present). For Disney, Johnson made multiple guest appearances in Disney Channel series in the mid-2000s, such as Hannah Montana (2007), and starred in the movie Jungle Cruise (2021). Johnson also created, produced, and starred in the partly-autobiographical television series Young Rock (2021-23). More recently, Johnson was cast as Cal Drift in the Christmas action-comedy film Red One (2024) and will reprise the role of Maui in the live-action remake of Moana, due to be released in 2026. Fun fact: Johnson’s daughters, Jasmine and Tiana, voiced two members of Moana’s “fan club” in Moana 2.

Now for the crew. Moni is my favourite of the new characters, because he’s the comedy element of the group. Not even because he’s meant to be, but just because of his reaction to meeting Maui, being such a huge fan of his, and for his slightly clumsy nature! Moni is the historian and storyteller of Motunui. He comes in handy when they need to communicate with the Kakamora for example. Moni was voiced by Hualālai Chung, who is a fire knife performer in the luau at Aulani, A Disney Resort & Spa in Hawaii, having been performing there since the KA WA’A – A Lū’au opened in 2016[1]. Chung is set to appear in the Lilo & Stitch live-action movie, due for release in May 2025.

Loto is the quirky chief engineer, who fixes up the canoe on various points in the journey, but most notably, just before they are about to battle Nalo. Loto is energetic, surprising everyone with how fast her mind works. Loto also has a handy Swiss Army knife-like axe, which has lots of additions like rope, a needle, and thread. Comedian and New Zealander Rose Matafeo was chosen to voice Loto. Matafeo is a very familiar face on the British stand-up comedy circuit, but she also created, wrote, and starred in the comedy series Starstruck (2021-23) as Jessie, and is the current host of Junior Taskmaster in the UK (2024-present).

Kele is the farmer, who is necessary for this new voyage because the group will need to survive on more than just fish during their journey. Kele isn’t so sure about going on this boat, seemingly never having left Motunui before, so he is the one that needs the most convincing that this voyage is going to be “fun”. He is also older and grouchier than Loto and Moni, so naturally, he’d find it more difficult to get out of his comfort zone. Kele was voiced by New Zealand actor David Fane. In recent years, Fane has appeared as Ace in the sports comedy film Next Goal Wins (2023), directed by fellow New Zealander Taika Waititi. He also appeared as Kevin/Fang in the comedy series Our Flag Means Death (2022-23).

Another new character is the half-good-guy, half-bad-guy Matangi. She is a mysterious bat-like figure, with a gang of flying foxes – a type of fruit bat – around her, who works for the all-powerful storm god Nalo. Matangi seems to have been tasked with keeping Maui and Moana away from Motufetu, but although she ties up Maui, she is quite happy to send Moana on the path to Motufetu and to Nalo’s potential downfall. I think Nalo needs to rethink his choice of henchwoman here! It’s unclear if Matangi is actually a double agent and that getting Moana to raise Motufetu is part of some grand scheme she has, or whether she is actually an unwilling slave to Nalo. In the mid-credits scene that Nalo appears in, he seems to be suggesting she’ll be punished for her actions, so I guess she was good? Nalo and Matangi seem very much like Hades and Megara in Hercules (1997) to me.

Matangi was voiced by Awhimai Fraser, who has previous work with Disney Animation, having voiced Elsa in the Te Reo Māori dub of Frozen (2013). Fraser also was cast as Chantelle in the Māori web series Ahikāroa (2018-present). Fraser reprises her role for the Māori language dub of Moana 2. Nalo was voiced by New Zealand actor and comedian Tofiga Fepulea’i who was part of the comedy duo Laughing Samoans. Tamatoa makes a brief appearance in this same mid-credits scene, and Jemaine Clement returned to reprise the role. Clement is known for being part of musical comedy duo Flight of the Conchords, getting their own series from 2007 to 2009. He also created the 2014 movie What We Do in the Shadows and its subsequent television series.

Then, there are Moana’s family and ancestors. Once again, Moana’s family get left behind as Moana goes out on another journey, so her parents, Chief Tui and Sina, are left to wait for her once more. However, this time, they have a new addition to the family who no doubt kept them busy while Moana was away, and that is Simea. Simea is incredibly close to Moana and she is very upset at finding out the two will be separated as Moana goes on her latest voyage. Simea was voiced by Khaleesi Lambert-Tsuda, who is of Hawaiian descent, in her first screen role. Tui is still voiced by New Zealand actor Temuera Morrison, who is set to appear in the upcoming AppleTV+ miniseries Chief of War as Chief Kahekili alongside Jason Momoa. He also recently starred as Ed in the crime series Far North (2023) and reprises his role as Tui for the Māori language dub of Moana 2. Nicole Scherzinger returned to voice Moana’s mother Sina. Scherzinger has been performing more on stage recently, starring as Norma Desmond in London productions of Sunset Boulevard since 2023.

For Moana’s ancestors, Tautai Vasa is the one who is spoken about the most. He was the best wayfinder of Motunui back in the day. He returns in spirit form to provide Moana with information of her task to raise Motufetu and save everyone from becoming disconnected. Tautai Vasa is also part of the most moving scene of Moana 2, when Moana is revived, with help from other spirits. One of these other spirits is Gramma Tala, who returns in Moana 2 in spirit form. Tala encourages Moana to complete this new mission and comes back to revive her granddaughter. Tautai Vasa was voiced by Gerald Faitala Ramsey. New Zealand actress and director Rachel House returned to voice Tala. For Disney, House has performed the voice roles of Terry in Soul (2020) and Mama Binturong in The Lion Guard (2019), and reprised her role of Tala in the Māori-language version of Moana. She also voices Malgosha in A Minecraft Movie (2025), and recently appeared as Ruth in Next Goal Wins (2023) and Nienke Van Spee in The Portable Door (2023). House reprises her role as Tala in the Māori language dub of Moana 2.

We also have the non-speaking characters of Pua, Moana’s loyal pet pig, and Heihei the silly rooster. Once again, Heihei joins Moana on the canoe, but this time, so does Pua, after many were disappointed to find the lovable pig was left behind in Motunui in the first movie. Heihei is still quite dumb in Moana 2, but he needs rescuing less often. Heihei is “voiced” again by Disney veteran and lucky charm, Alan Tudyk, who has had roles in every Disney movie release since Wreck-It Ralph (2012). Kotu, the Kakamora who joins Moana and her friends for their journey, is also a non-speaking role. The Moana 2 filmmakers wanted to expand on the story of the Kakamora to make their backstory closer to that of the Kakamora of the Solomon Islands who were not pirates but actually helped people, so their storyline in Moana 2 had to change to have them be foe-turned-friend[2].

Sadly, I don’t think we got to see enough of the new characters in Moana 2, specifically Matangi and Nalo, meaning that it is hard to understand the dynamic between the two. I don’t think Loto, Moni, and Kele were used particularly well in Moana 2 either, with the gang being secondary to Moana and Maui, having their assigned roles in the group but not having any big emotional breakthroughs or memorable moments to make them fully fledged characters.

PRODUCTION

The idea for the original Moana movie came about from a discussion with John Lasseter, Chief Creative Officer of Disney Animation at the time, who suggested that Ron Clements and John Musker, directors of some of Disney Animation’s most beloved films, such as The Little Mermaid (1989) and Aladdin (1992), make a film based in the Pacific Islands. The two directors were happy to look into this idea further and went on a three-week research trip with some other members of the team. They went to Fiji, Samoa, Tahiti, as well as some of the smaller islands around those areas, before ending the trip in New Zealand.

It was decided that the movie’s story would focus on a teenager named Moana (which means “ocean” in Polynesian) having dreams of being a navigator, since they had learnt this was an important part of the ancestry of the area. 3000 years ago, navigators migrated from Taiwan and moved eastward. They went to the islands of Fiji and Samoa, before the migrations suddenly stopped. 1,000 years later they suddenly began again, going eastward once more to areas such as New Zealand. This gap in the timeline, called “The Long Pause” was used as the setting of the film, with Moana being the driving force for the migrations happening again.

The first Moana film ended with Moana saving her village and other islands from a curse by restoring the heart of Te Fiti. She learnt how to be a voyager and came back to Motunui to encourage her community to navigate the ocean alongside her. Moana 2 picks up three years after the events of this movie with Moana wanting to reconnect her people with those from other islands. However, Moana 2 was never going to be a feature film. It was meant to be a follow-up series for Disney+, announced in December 2020.

It has been said that Bob Iger, the CEO of The Walt Disney Company, and other executives made the decision to turn this series into a feature film after viewing the episodes of the series. They were overwhelmingly positive about them, being so impressed they believed it deserved a theatrical release. Yeah, I’m sure that’s exactly how it went, and not at all like this: well, Moana got loads of streaming hours on Disney+ and was the most streamed movie of 2023, and we haven’t had a theatrical hit in a while, so let’s use that popularity of the first movie to make some big, easy money…. Anyway, that’s just me being cynical. The announcement of Moana 2 came as a surprise to many, with some fans concerned about how well a TV series could be adapted into a movie[3].

From this point, there was a lot of work to do to get this series to become Moana 2. David G. Derrick Jr., who had been a story artist on Moana, as well as Encanto (2021) and Strange World (2022), and was working on the Moana Disney+ series, became one of three directors for the movie, in his directorial debut. Dana Ledoux Miller had been hired as a consulting writer for Disney, before being asked to come in to retool this series into a feature film. She became both a co-writer and co-director of Moana 2. Jared Bush wrote the screenplay for Moana 2 alongside her, having become the Chief Creative Officer of Walt Disney Animation Studios in 2024 after Jennifer Lee stepped down. Bush is also well-known for writing the screenplays for Zootopia (2016) and Moana (2016), as well as writing and directing Encanto (2021) and the upcoming Zootopia 2 (2025). Bush and Miller have also both written the screenplay for the live-action remake of Moana. The other director added to Moana 2 was Jason Hand, who worked as a story artist on other Disney animated movies, including Big Hero 6 (2014) and Zootopia (2016).

This new directorial team included people of Oceanic descent in a welcome move. Dana Ledoux Miller knew that Moana was a game changer for representing Oceanic culture, remembering how important it felt at the time she watched it in theatres[4]. David G. Derrick Jr. and David Hand had both been storyboard artists on the original Moana movie, so they were also were pleased to work on the sequel, knowing how proud the team were of the original and what a meaningful film it became.

Many of the original team that worked on Moana ended up coming back excited to work on Moana 2. Due to the fact that Moana 2 was initially a Disney+ series, I presume, the majority of the animation work was completed by Walt Disney Animation’s Vancouver studio in Canada. This was likely a cost-effective method to create series at a quicker pace rather than relying solely on those animators at the Burbank studio who are busy with theatrical films. Some critics picked up on this “cheaper” method of animation, feeling that the expressiveness of characters was lacking – I did not notice this and wouldn’t have known that it was animated primarily at a different studio had I not looked into it.

Creating the sequel was an opportunity to build on the original story, with so much more ocean to explore and so many more people to meet. The Moana 2 filmmakers looked into more folklore, which had been touched on in the first movie with Maui’s background, to help build the story. They wanted Moana to be sent on a mission. With the movie being set three years later than the events of the first movie, Moana herself had to be different, having been changed by her first journey. She is a strong leader in her community now, and less naïve, but Moana wants more from life still and it was important to see how she dealt with being pushed to her limits once again. Maui also had to be changed from the first movie, finding himself more vulnerable thanks to his friendship with Moana[5].

To help with the story, the Oceanic Cultural Trust were on hand once again, having been a vital part of the production process on the first Moana film. The Oceanic Cultural Trust consists of experts and advisors in different fields, such as anthropology, linguistics, history, choreography, and wayfinding, who use their knowledge and insight to help guide Disney into creating a movie that truly represents the peoples of the Pacific. The Trust are also consulted for any Moana-related consumer products or Disney Parks attractions that are developed. Kalikolehua Hurley, who grew up in Hawaii, was the head of the trust during production on Moana and felt very lucky to be involved again for the sequel. Hurley stated that it is a big challenge to create a fictional place blending different cultures, from areas like Samoa, Tonga, Figi, Tahiti, Hawaii and the Solomon Islands. The Oceanic Culture Trust involves experts from these countries, who each bring their own unique insights and contributions to the movie. Another contributor to the Trust was Lāiana Kanoa-Wong, who was invited to be part of the Trust thanks to his lifetime of work dedicated to the language and culture of his native Hawaii. Kanoa-Wong even visited the animation team in Vancouver, leading activities to help connect the animators to the Pacific culture and to their voyaging heritage, since animating scenes of wayfinding, navigating, and voyaging was crucial to the movie. The animators were taught the basics of navigation and rope making, for example[6].

There was also a collaboration with the Polynesian Voyaging Society for this movie, with master navigator and head of the society, Nainoa Thompson, being very inspirational to not only the filmmakers but other members of the Oceanic Cultural Trust. The Polynesian Voyaging Society use their hand-built canoe Hōkūle’a to teach others about the history of navigation and wayfinding, since there was a time when nobody believed that the Pacific voyagers had discovered all these islands, because they are so spread out. Wayfinding requires a lot of skill, technical knowledge, and observation, studying the weather and stars; monitoring the vessel; and of course, ensuring that the crew are healthy and motivated. To be a wayfinder, you have to make 5,000 observations of nature and make 500 different decisions based on those per day of your voyage. The lessons the filmmakers learnt from Thompson and the Polynesian Voyaging Society that made it into the film include the idea that you have to get lost to truly discover where you’re going, and that you must control your fear and believe in yourself, even turning into the wind during a storm, which Moana does both physically and metaphorically[7].

Moana 2 was also the opportunity to create more impressive animation sequences. One of these was the battle with Nalo. Te Kā was already quite a fearsome god, with its lava powers, however, this time, the animators created a powerful storm of tornadoes for the storm god Nalo. It certainly shows that Nalo is more serious about destroying Moana and Maui than Te Kā was. I actually quite liked this scene, with the pink/purple tornadoes, but it didn’t last very long which was quite disappointing.

There was also the return of hand-drawn animation in this sequel, in a small way. This was also the case with the first Moana film, as “Mini-Maui”, Maui’s moving tattoo guy, is a 2D animated character. Eric Goldberg, veteran Disney animator famed for his characters such as Genie in Aladdin (1992) and Phil in Hercules (1997), returned to supervise the sequel’s hand-drawn animation team. Many of the animators were desperate to work on some of these sequences just to get an opportunity to work alongside Goldberg. Maui’s tattoos were designed to be as similar to the Pacific traditions as possible, whilst also detailing Maui’s backstory[8].

Not everything that was initially conceived to be a part of the story of Moana 2 was able to be used in the final film. There were a variety of creatures that were not included in the final cut of the movie, such as a two-faced bird and very large pigs, which were meant to be a feature of the lair that the crew enter through the mouth of the clam monster, with Moana and her crew still being separated, but having to outsmart these creatures as well. It was eventually decided to keep the area relatively clear to focus on Matangi. There was also going to be a scene that led Moana to discover what her mission from the ancestors was, as she was not given all the answers immediately from a vision. Here, Moana would’ve had to dive underwater to discover drawings on the cave walls that would come to life and show her the island of Motufetu, leading her to discover what she must do. This deleted scene felt kind of similar to when Milo and Kida discover the energy source that Atlantis is powered by, and that Rourke wants to steal, in Atlantis: The Lost Empire (2001), when they have to swim underwater to decipher drawings on the undersea cave walls[9].

Randomly, but not uncommon for The Walt Disney Company as they seem to get sued a lot, an animator named Buck Woodall filed a lawsuit on 10th January 2025 alleging that Disney stole from his copyrighted screenplay “Bucky the Wave Warrior” and used ideas from it in both Moana and Moana 2. Woodall claims to have provided his screenplay and a trailer to Jenny Marchick back in 2003, who worked as the Director of Development for Mandeville Films, a company who had a first look deal with Disney and offices in Disney’s Burbank studio at the time, and that it is possible that an individual at Disney Animation had seen these materials prior to working on Moana. After a two-week trial, it was decided that Disney did not have access to Woodall’s screenplay so his ideas could not have been used in the Moana movies, so the case was won by Disney, however, this lawsuit only relate to the original movie. A separate suit was filed for Moana 2 and that case is still ongoing[10].

MUSIC

Although the soundtrack for Moana has proven to be one of Disney Animation’s most popular soundtracks, Moana 2’s soundtrack was more divisive.

The original movie’s music team consisted of composer Mark Mancina, and song-writers Lin-Manuel Miranda, and Opetaia Foa’i. Mancina had composed the score for other Disney movies such as Tarzan (1999) and Brother Bear (2003), and arranged the music for The Lion King Broadway musical for which he was nominated for a Tony Award, prior to his work on Moana. Samoan song-writer Opetaia Foa’i founded the group Te Vaka in 1995, with the group having had much success over the years. He was very happy to collaborate with Disney on the Moana soundtrack as he had spent years promoting his culture through music and knew this was a good opportunity to go further with that aim.

However, for Moana 2, although Mark Mancina and Opetaia Foa’i made welcome returns to the music for the sequel, Lin-Manuel Miranda was unavailable, which was a big disappointment to fans of the original soundtrack. He was replaced by songwriting duo Abigail Barlow and Emily Bear, becoming the first all-female songwriting team for a Disney animated film, working alongside Opetaia Foa’i, as Miranda did, in the creation of many of the songs. Together, the two wrote The Unofficial Bridgerton Musical, based on the hit Netflix series Bridgerton (2020-present), which became a viral hit on TikTok during the pandemic, and even won a Grammy Award for Best Musical Theater Album, despite Netflix having a copyright infringement lawsuit against them, which was later settled. A year after this success, Barlow and Bear met with the creative team for Moana 2, knowing that they had to live up to the first soundtrack, which has had more than 20 billion streams worldwide. Lin-Manuel Miranda kindly gave them help and support during the process[11].

For me, the soundtrack for Moana 2 was an incredibly mixed bag. After watching the movie for the first time, the only piece of music that actually touched me was “Mana Vavau”, the chant that Maui sings along with Gramma Tala and Tautai Vasa to revive Moana after she has been struck by Nalo’s lightning bolt. It was a very moving moment and the only point of the film that brought me close to tears. This chant was written by Opetaia Foa’i’, performed by Foa’i, Rachel House as Tala, and Dwayne Johnson as Maui.

Outside of that, I couldn’t recall any of the other songs after watching Moana 2. However, having done a lot of research for this piece, it’s impossible to avoid hearing the songs again, and this time, two others have stuck with me. One of those is “Beyond”, Moana’s big emotional number where she sings about how torn she is between her family on Motunui, and her mission to help the wider community. Auli’i Cravalho found the song difficult to record, as it involved lyrics about being away from home and going beyond your comfort zone, something that Cravalho no doubt had to deal with after her whirlwind success as an actress after her voice role in Moana. This song was written by Barlow, Bear, and Foa’i. This song is later reprised, after Motufetu is raised and Moana sings in celebration. “Beyond” was also recorded as End Credits song, with Cravalho and Te Vaka performing it.

The other song that grew on me was “Can I Get a Chee-Hoo?”. Although it is not as good as Miranda’s song for Maui, “You’re Welcome”, and I was slightly annoyed at how the same animation style was copied from the first movie for the sequence that accompanies the song, it’s quite catchy after you’ve listened to it a couple of times. It’s also really hard to dislike it when you can hear how much fun Johnson had singing it and just generally being Maui! This song was written by Barlow and Bear, and involves Maui trying to boost Moana’s confidence, ready to face Nalo. It apparently was challenging to sing and to write.

Now, let’s go to the songs I actually really didn’t like. The first was “We’re Back”, the recap song of where Moana, her family, and Motunui are after the three years since the events of Moana. To be honest, I was quite surprised to still see them in Motunui, seemingly not having voyaged very far, despite the final scene of Moana showing Moana teaching her community, including her father, how to be wayfinders. I don’t really like songs like this, because they stuff so much information into the song that you’re spending too much time trying to figure out what’s going on instead of enjoying the music. I had a similar problem with “The Family Madrigal” in Encanto (2021). “We’re Back” was written by Barlow, Bear, and Foa’i, and performed primarily by Cravalho, along with other Motunui residents. There is also an End Credits version of this song, performed by Te Vaka, Olivia Foa’i and Sulata Foai-Amiatu.

Then, there is “What Could Be Better Than This?”, which is all about Moana trying to motivate her crew, telling them how enjoyable their voyage can be if they just let loose and go with it, something that Kele in particular is struggling to do. Although I enjoy watching people who don’t want to have fun being forced to have fun, like Kele, I didn’t feel like it needed to be a song and could’ve worked better as a spoken scene. I was quite impressed with Rose Matafeo’s solo “fast-talking” part though. This song was written by Barlow and Bear, performed by Cravalho, Matafeo, as Loto, David Fane as Kele, and Hualālai Chung as Moni.

I also wasn’t a huge fan of “Get Lost”, the “villain’s” song that Matangi sings to Moana, telling her that to succeed, she’ll have to get a little bit lost, and leading her back to her friends and the portal to Motufetu. I thought Awhimai Fraser performed the song well as Matangi, but I just didn’t like it. It was no “Shiny”. It was also quite disappointing to find that Matangi was not leading Moana down the wrong path, as she’d been shown to be a villain, or at the least a spy for the enemy, but then she just turned out to be helpful… “Get Lost” was written by Barlow and Bear.

Then there are other songs that feature in Moana 2 that I either didn’t mind or quite liked. One was “Finding the Way”, which is being sung by the people of Motunui as a farewell to Moana and her crew. It is reprised as the crew return home from their journey, with their multitude of guests. It was written by Foa’i, performed by Olivia Foa’i and Te Vaka. 

Following on from that are some pieces of music that might sound familiar to fans of the first Moana. One of these is the return of “Tulou Tagaloa”, which is used for the opening scene. It is not exactly the same, being credited as “Tulou Tagaloa (Sei e Va’ai Mai)”. I did appreciate it being used here, liking the familiarity of it. It was performed by Olivia Foa’i and Te Vaka. As Moana talks to her little sister Simea about how the ocean is her friend, the music “My Wish For You (Innocent Warrior)” is used, which was used in the first Moana movie, I think both as the backing for “Know Who You Are” and when young Moana first meets the ocean and it messes with her hair! It was written by Foa’i, performed by Foa’i, Olivia Foa’i, Sulata Foai-Amiatu, Matatia Foai, and Matthew Ineleo.

To match the familiar opening music to Moana 2, another song from the original movie was updated to be used as the final scene of Moana 2, as Moana goes off voyaging again. This is “We Know the Way (Te Fenua te Malie)”. I also liked this song from the first movie so I quite enjoyed hearing it again at the end of Moana 2. It was written by Foa’i and Lin-Manuel Miranda, performed by Foa’i, Auli’i Cravalho, Olivia Foa’i, and Te Vaka.

Like in the previous movie, Mark Mancina collaborated with Opetaia Foa’i on the score to ensure the music stayed true to the sound of the Pacific, once again being heavily based in percussion and vocals, to suit the style of traditional Pacific music. The two collaborated well on both the music for Moana and Moana 2 in my opinion[12]. Within the score, I particularly liked the pieces “Waves Like Mountains” and “There’s Another Way”, which are used for the Nalo battle scene. I tend to find the instrumental pieces used for battle and finale scenes are the best and most memorable ones within Disney Animation.

The original soundtrack for Moana won Lin-Manuel Miranda a Grammy for the song “How Far I’ll Go”, which was also nominated for Best Song at the Academy Awards and Golden Globes. The Moana soundtrack as a whole won Top Soundtrack Album at the American Music Awards in 2017 and at the Billboard Music Awards in 2018. Moana continued its fame way beyond its 2016 release, with the soundtrack breaking the Billboard Soundtrack chart record for number of weeks spent at No. 1. The record was won in 2021, after 52 weeks at No.1[13].

In contrast, Moana 2 received no Grammy nominations. “Beyond” and “Can I Get a Chee Hoo?” were both nominated for Best Original Song in an Animated Film at Hollywood Music in Media Awards, but lost to “Kiss the Sky” from The Wild Robot (2024). “Beyond” was also nominated for Outstanding Original Song for a Comedy or Musical at the Society of Composers & Lyricists Awards, but lost out to “Compress/Repress” from Challengers (2024). It also only topped the US Billboard Kid Albums chart. It currently has peaked at No.102 in the US Billboard 200 chart. Moana hit the No. 2 spot in that same chart.

RECEPTION

Despite Moana 2 not being announced as an official Walt Disney Animation feature film until February 2024, meaning that there was less than nine months of promotion for the new sequel, anticipation for the movie was at a high.

Usually, we know at least two years in advance of a new Disney or Pixar feature film. The company like to drip-feed information over those months to really build excitement for their new movie, whether it is a sequel to an already popular franchise or not.

Although I’d personally expect the lack of build-up to mean interest in a movie stays fairly limited, in the case of Moana 2, the opposite happened as was evident when its teaser trailer was made available to the public. Debuting on 29th May 2024, it received 178 million views in 24 hours across social media platforms, beating out previous high-performing Disney and Pixar movies of recent years, such as Inside Out 2 (2024), which had 157 million views in that time, and Frozen II (2019) with 116 million views[14].

Moana 2 also got to take advantage of a very Disney “rite of passage” and that is the usual Upcoming Movies panel at the D23 Expo, which took place in Anaheim between 9th and 11th August 2024. Here, further details about the movie were revealed, as was the official trailer. So, this showed that the interest in Moana 2 was there, but how did it progress as the official release date got closer and closer?

Moana 2 held its world premiere event in Hawaii on 21st November 2024, before being released in theatres in the US on 27th November 2024, in time for Thanksgiving weekend. Its release to international markets followed in the coming days and weeks to perfectly coincide with the holiday season in many countries.

Many studios like to release movies around Thanksgiving to take advantage of people being off work. In this case, Moana 2 was expected to gross around $130 million during the Thanksgiving five-day weekend. It smashed those expectations, making $225 million in those five days, despite being released at the same time as another box-office success, and family-friendly movie, Wicked (2024). Gladiator II (2024) was also released around this time, with these three movies contributing to North America’s biggest Thanksgiving theatre takings of all time.

Overseas, Moana 2 fared just as well in its first few days, making $165 million, for a combined global total of just under $390 million. The movie opened in the No.1 spot in many countries, with Moana 2 being the biggest opening for a Disney Animation feature film in places such as Latin America, Australia, Mexico, and France, ahead of Frozen II (2019).

Moana 2 smashed records, such as the best five-day debut of all time, with the top spot previously being held for The Super Mario Bros. Movie’s April 2023 release, with $204 million, and the biggest five-day Thanksgiving opening, which was held by Frozen II, with $125 million. Moana 2 was also the biggest global opening of all time for an animated film, and the biggest opening day total for a Disney Animation title[15].

After its theatrical run, Moana 2’s worldwide gross hit just over $1 billion. Moana 2 was only the fourth Disney Animation movie to cross $1 billion at the global box-office, after Frozen (2013), Zootopia (2016), and Frozen II (2019)[16]. Yet, this was not enough to beat the summer success of Pixar’s Inside Out 2 (2024) to become the highest-grossing movie of 2024, hitting the top spot with around $1.7 billion worldwide. Other sequel animated movies also did well at the worldwide box office that year, such as Despicable Me 4 from Illumination, with just under $970 million, and DreamWorks’ Kung Fu Panda 4, with $550 million. Mufasa: The Lion King, Disney’s “photorealistic animated” sequel to their 2019 remake of The Lion King, released in December, also did well with $720 million[17].

Moana 2 did well to bring in people to the theatres, but how did they respond to it? Well, it was a mixed response, and the reason for this may be in the popularity of the original Moana itself, meaning its sequel would always be compared to it.

Many said that the animation of Moana 2 was still high-quality, even though much of the movie was actually animated in the Vancouver studio, not in the main Disney Animation Burbank studio. Others also felt that it was entertaining, charming, and fast paced, with some tender, heartfelt moments. The voice acting was also praised, with Auli’i Cravalho and Dwayne Johnson once again being given deserving credit for their performances. Less positive responses simply stated that Moana 2 was fine, and that children would enjoy it.

There were quite negative reviews as well, with words like “rehash”, “forgettable”, and “disappointing” being used. Other comments agreed with my opinion by saying that the story lacked creativity and purpose, repeating many moments from the original movie, and that plot points and newly introduced characters were underdeveloped. A good point that was made was that Moana 2 was slow to reunite Maui and Moana, with their chemistry being a major reason for the original being as good as it was, so the two not being seen together on screen until almost an hour into the movie is strange, especially when the opportunity to create similar dynamics with Moana’s new crew was not used fully. The music was criticised as well for not being as good as the music of the first music, with the songs not being nearly as memorable. There are some exceptions to this, with some stating that “Beyond” was a standout song in the movie, but this is all subjective, with everyone having a different opinion on what song was best for them. Generally, it was agreed that Moana 2 simply lacked the magic of the first movie.

Perhaps due to this mediocre or poor reception, Moana 2 was not as nominated during awards season as Moana was. The original Moana was nominated for numerous awards, including in the Best Animated Film category at the BAFTAs, the Academy Awards, the Golden Globes, and the Annie Awards, unfortunately losing out to Zootopia (2016), Disney Animation’s Spring release of that year, in many cases. However, Moana did win many other awards in other categories such as for Outstanding Achievement in Animated Effects and for Voice Acting for Auli’i Cravalho at the Annie Awards. and two Teen Choice Awards for Dwayne Johnson as Choice Fantasy Movie Actor and Auli’i Cravalho as Choice Breakout Movie Star.

Moana 2 on the other hand was only nominated for Best Animated Movie at the Golden Globes, where it lost to Flow (2024), an independent movie directed by Latvian filmmaker Gints Zilbalodis. Flow also won the Oscar for Best Animated Film, whereas Moana 2 was not even nominated. Nor was it nominated in this category at the BAFTAs, or at the Annie Awards. Moana 2 was nominated for a handful of other Annie Awards, like Outstanding Achievement for Animated Effects; for Character Animation; for Editorial; and for Storyboarding, but it lost to The Wild Robot in all categories. Now, you might be thinking that perhaps Moana 2 was simply not nominated for Best Animated Film at the big ceremonies because it was a sequel. That is not the case, as Inside Out 2 was nominated in this category at the major award ceremonies, as was Frozen II, although it did miss out on an Oscar nomination. Moana 2 was just not good enough. Moana 2 did win one award: the Animation Award at the Celebration of Asian Pacific Cinema and Television Awards.

Moana 2 became available to buy digitally on places like Sky Store, Prime, and AppleTV on 28th January 2025. It later came to Disney+ on 12th March 2025, where it earnt 27.3 million views in its first five days of being on the platform, from Wednesday 12th to Sunday 16th March. This was the largest Walt Disney Animation Studios premiere on the platform since Encanto (2021) came to Disney+ on 24th December 2021, and the third-largest animated theatrical premiere of all time on Disney+. It remains to be seen whether Moana 2 can reach the same heights as Moana has on Disney+, becoming the platform’s most streamed film, reaching 1.4 billion hours streamed since it came to Disney+ when the app debuted in November 2019[18].

LEGACY

Because Moana came out in 2016 and has proven to be popular in the years since, Moana 2 specifically has not yet spanned any attractions or movies of its own. Although if that mid-credits scene is anything to go by, then a third film could most definitely happen, as it seemed to be building up to a war between Nalo, Matangi, Moana, and Maui. Moana 3 has not been confirmed – so far – but I can definitely see it happening, unfortunately.

The biggest screen development to come from the Moana franchise was the surprise confirmation of a live-action remake back in April 2023. I say it was surprising only because the animated movie is fairly recent, whereas other live-action remakes have been focusing on the Disney animated movies from at least twenty or thirty years ago, if not more. Filming wrapped on this live-action movie around November 2024, with production beginning in late July 2024, with shoots in Hawaii and Atlanta, Georgia. This means that production on the live-action Moana was ongoing at the same time as Moana 2. Thomas Kail, who directed the Lin-Manuel Miranda musicals In the Heights and Hamilton on Broadway, made his feature film directorial debut on this film. It is also known that Dwayne Johnson is reprising his role as Maui, with actress Catherine Laga’aia being cast as Moana. Jared Bush and Dana Ledoux Miller, who both wrote the screenplay for Moana 2, teamed up to write the screenplay for the live-action movie. It was originally set to be released in Summer 2025, but after the announcement of Moana 2, the release was moved to 10th July 2026, to give more time between the two films[19].

To specifically celebrate the release of Moana 2, the Disney Parks began rolling out limited time experiences from mid-November 2024 until around early January. One of these was the introduction of a new exhibit showcasing artwork from Moana 2 at the Walt Disney Presents attraction in Disney’s Hollywood Studios at the Walt Disney World resort. There is a rotating exhibit in this attraction, which had previously housed maquettes and artwork for Inside Out 2. The Moana 2 exhibit also gave a brief description of the movie’s story[20].

From 24th November 2024, Moana was also seen in the parks debuting her look from Moana 2. This began with her meet-and-greet locations at Hollywood Land in Disney California Adventure Park at the Disneyland Resort, and by the Journey of Water, Inspired by Moana attraction in Epcot at Walt Disney World. Moana was also seen in an island setting at Disneyland Paris from 27th November. She could be spotted at Adventureland in her new outfit at Hong Kong Disneyland from 29th November.

There was also the opportunity to learn to draw Moana, Maui, Heihei, Pua, and Kotu for a limited time, at Disney Animal Kingdom’s Animation Experience at Rafiki Planet Watch and at the Animation Academy at Disney California Adventure. Also at Disney California Adventure, a new water short entitled “Boat Snack” was shown ahead of presentations of World of Color – Season of Light to promote Moana 2.

Again at Walt Disney World, a Moana 2-themed Christmas tree was created as part of the Disney Springs Christmas Tree Stroll for the holiday season. The new Island Tower at Disney’s Polynesian Resort, a new Disney Vacation Club offering, opened at Walt Disney World on 17th December 2024, which has nods to Moana throughout, with artwork displayed in the room, and the kids’ water play area being named Moana’s Voyage, complete with a statue of Moana sailing the ocean on her canoe. Moana in her Moana 2 costume was also available to meet guests at this location for a media event prior to the grand opening.

Outside of the US Disney Parks, at Disneyland Hotel in Disneyland Paris, guests could enjoy a bedtime story featuring Moana’s little sister Simea and collect a limited edition Pua sticker, alongside the in-park meet and greet with Moana. At Tokyo Disneyland Resort, there were decorations and displays for Moana 2 at the IKSPIARI shopping mall.

Generally, new merchandise, such as a Moana singing doll, clothing, toys, and pins, were available to purchase, and some remain in stock online. Special “Magic Shots” from Disney PhotoPass photographers inspired by Moana were also available. Plus, there were lots of food and drink offerings available at all the Disney Parks that were influenced by characters from Moana 2, such as a Heihei Straw Clip, a Moana 2 cake bar, and a Kakamora dessert[21].

These new experiences, although limited time experiences in many cases, added to the current list of attractions and experiences already on offer at the Disney Parks. These will likely only increase in the coming years.

For example, Moana started a full-time residency at Disney’s Animal Kingdom at the Walt Disney World Resort, on 22nd April 2023, as part of the park’s 25th anniversary celebrations and as part of the Disney100. Also at Walt Disney World, but this time within Epcot, a whole new attraction opened on 16th October 2023, called Journey of Water, Inspired by Moana, which is a self-guided interactive outdoor trail where guests can play and interact with water, as well as learn about its importance and its playful personality, as Moana did. It features an impressively tall Te Fiti topiary, as well as numerous beautiful waterfalls and streams[22]. Further appearances by Moana within the Walt Disney World Resort include her own scene within the heroes’ montage of Fantasmic! at Disney’s Hollywood Studios, as well as music and scenes from the movie being part of the nighttime fireworks show Happily Ever After at the Magic Kingdom. Furthermore, the rooms within Disney’s Polynesian Village Resort were updated in July 2021 to be themed to Moana, though this is done tastefully via Moana-inspired artworks and themed patterns on carpets and furnishings. Also at the Polynesian Village Resort is a shop named Moana Mercantile. Moana is set to have its own float at the new nighttime parade, Disney Starlight: Dream the Night Away, debuting at Magic Kingdom in Summer 2025.

Outside of the Walt Disney World Resort, Moana can be found at meet-and-greets, and within shows and parades. At Disneyland, although she does not currently have a dedicated meet-and-greet location and time, Moana may still appear in the park. Moana’s music and movie scenes do appear in the Wondrous Journeys and World of Color – ONE show, plus Moana has a float in the Magic Happens parade. These are not always running.

In Shanghai Disneyland, Moana is a part of the Mickey’s Storybook Adventure live theatre show, and she even has her own stage show at Hong Kong Disneyland called Moana: A Homecoming Celebration, along with a dedicated meet-and-greet location in Adventureland. At Tokyo Disneyland, Moana is featured within the Believe! Sea of Dreams nighttime show at Tokyo DisneySea. After the Moana 2 celebratory Moana meet-and-greet ended at Disneyland Paris, she has not returned to meet guests, however, music and clips from the film do feature in the Disney Tales of Magic fireworks show there, and may be a fixture in a float during Disney Stars on Parade. Moana can sometimes be found meeting guests at Aulani, A Disney Resort & Spa in Hawaii as well. The Broadway-style stage show Disney The Tale of Moana also debuted in December 2024 on the Disney Treasure cruise ship, receiving rave reviews from guests.

FINAL THOUGHTS

In all fairness to those who worked on Moana 2, I can see that, much like with any Disney Animation feature film, they wanted to make a great movie, with an exciting storyline, an emotional message, and beautiful animation. I also accept that I came to Moana 2 with a biased opinion in some ways. I was not happy when the sequel was announced so that dislike of the whole concept of a sequel likely clouded my judgement.

However, that does not change my opinion that Moana 2 was a wholly unnecessary movie for Disney Animation to have made. The story was not good enough to warrant a sequel, and Moana’s continuing voyages would’ve been more fitting to a Disney+ series.

Moana 2 followed the same outline as the original Moana. Basically, Moana wants to discover more about her ancestry and wayfinding. She’s given a mission by her ancestors that will tell her more about it. She encounters monsters and villains, like the clam monster and Matangi on the way. At the site of her mission ending, she battles an elemental god who wants to stop her. She completes her mission and returns to her community with more information about other voyagers. It was simply not unique enough.

I believe that Disney management is the one pushing for all these sequels to be made in a bid to make some easy money. After all, just look at the sequels in the works. They are all for movies that did well at the box-office, some even breaking records in that respect. It seems to me that none of these movies need a sequel and I fear that many of these upcoming movies will make a lot of money, sure, but they will be unnecessary and disappointing because of it.

Moana 2 was certainly not a bad movie, nor was it unwatchable, but it was “just ok”, though I enjoyed moments of it. I know families and children likely enjoyed the majority, if not all, of it. But it signals a real problem for Disney Animation and Pixar as a whole.

Instead of making formulaic sequels, what The Walt Disney Company really needs to do is spend less time looking at their profits, and more time looking at the values that the company was built upon.


REFERENCES

[1] Credit: Erica Liu, ‘Hualālai Chung’s Journey from Aulani to the Big Screen’, DisneyParksBlog.com, 26th November 2024.

[2] Credit: Disney, “Join the Crew”, from Moana 2 (2024) Blu-Ray (2025).

[3] Credit: Matthew Rudoy, ‘How Moana 2 Transformed Out Of Disney+ Show Plans Eagerly Explained by Bob Iger’, ScreenRant.com, 25th February 2024.

[4] Credit: Alex Reif, ‘The Untold Story of “Moana 2:” A Film Born to Be on the Big Screen’, LaughingPlace.com, 21st November 2024.

[5] Credit: Disney, “A New Voyage”, from Moana 2 (2024) Blu-Ray (2025).

[6] Credit: Courtney Potter, ‘Behind-the-Scenes Exclusives with Moana 2 Filmmakers’, D23.com, 4th November 2024.

[7] Credit: Disney, “Call of the Wayfinder”, from Moana 2 (2024) Blu-Ray (2025).

[8] Credit: Disney, ‘Behind the ‘Absolutely Incredible’ Animation of ‘Moana 2’’, TheWaltDisneyCompany.com, 2nd December 2024.

[9] Credit: Disney, “Deleted Scenes”, from Moana 2 (2024) Blu-Ray (2025).

[10] Credit: Gretchen McDermid, ‘Disney Wins ‘Moana’ Copyright Infringement Lawsuit Against Screenwriter’, WDWNT.com, 10th March 2025.

[11] Credit: Nicole Fallert, ‘Meet Barlow & Bear, the women who made history writing the ‘Moana 2’ songs’, USAToday.com, date unknown.

[12] Credit: Disney, “Songs of the Sea”, from Moana 2 (2024) Blu-Ray (2025).

[13] Credit: Nicholas Reimann, ‘‘Moana’ Breaks Record For Most Weeks At No. 1 On Billboard Soundtracks Chart’, Forbes.com, 17th August 2021.

[14] Credit: Disney, ‘‘Moana 2’ Sets a Record as Disney’s Biggest Animated Trailer Launch in History’, TheWaltDisneyCompany.com, 30th May 2024.

[15] Credit: Pamela McClintock, ‘‘Moana 2’ Achieves Demigod Status: All the Box Office Records Broken’, HollywoodReporter.com, 2nd December 2024.

[16] Credit: Disney, ‘Can I Get a Chee Hoo? Be The First To Watch At Home – Disney’s MOANA 2 is Now Available on Digital’, Press.Disney.co.uk, 28th January 2025.

[17] Credit: Mark Hughes, ‘‘Moana 2’ Grosses $389 Million – Highest Global Box Office Debut For An Animated Movie’, Forbes.com, 2nd December 2024.

[18] Credit: Disney, ‘Moana 2 Splashes To 27.3m Views Globally On Disney+ After 5 Days Of Streaming’, Press.Disney.co.uk, date unknown. 

[19] Credit: Monica Coman, ‘Moana Live-Action Remake Gets Exciting Filming Update Ahead of Moana 2 Release’, CBR.com, 24th November 2024.

[20] Credit: Blog Mickey, ‘Moana 2 Character Maquettes & Artwork Now in Display at Disney’s Hollywood Studios’, BlogMickey.com, 19th November 2024.

[21] Credit: Erica Liu, ‘‘Moana 2’ Voyages Across Disney Parks with All New Experiences and Products’, DisneyParksBlog.com, 27th November 2024.

[22] Credit: Emmanuel Detres, ‘Moana-Inspired EPCOT Attraction Revealed in New Video’, InsidetheMagic.net, 7th April 2023.

#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.

#10 Up (2009)

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

BACKGROUND

2009 saw the release of Pixar’s tenth feature film, Up.

It had been quite a ride for the Pixar Studios from their very first movie, Toy Story in 1995, up to this point. In just over a decade, Pixar had securely positioned themselves as one of the best studios in terms of creating family-friendly, high-quality animated movies.

Within their first ten movies, Pixar had followed the lives of toys, fish, monsters, rats, and even robots, and each time, they were met with critical acclaim. With Up, they were going to do things just a little bit differently, by focusing for once on normal people.

Although there are many human characters within the first ten Pixar movies, they are not normally the focus of the movie, and end up as more of a sidekick – like Linguini in Ratatouille (2007) – or the cause of trouble, such as Boo in Monsters, Inc. (2001). The Incredibles did come along in 2004, but that was about superheroes, not ordinary humans. Up was going to be all about human emotion and human connection, being much more relevant to real life experiences than anything Pixar had done before.

By the time Up debuted in theatres, it had been three years since The Walt Disney Company had acquired Pixar, but they weren’t done there. Disney were in the midst of purchasing Marvel Entertainment in 2009. In the movie world, Disney Animation were releasing their own movie, The Princess and the Frog, which had been heralded as Disney’s big return to hand-drawn animation[1]. Sadly, it did not exactly pan out that way and The Princess and the Frog was a bit of a disappointment to the company.

But The Walt Disney Company had nothing to worry about when it came to Pixar’s big movie of 2009 because Up was met with widespread praise. Its first ten or fifteen minutes were considered to be a huge movie moment in itself, and the rest did not disappoint. Though praise for Up has cooled since 2009, mostly due to Pixar continuing to hit it out of the park with their more recent films, it still has its fans.

For me, I did like Up when I first watched it at the cinema. However, as the years have gone by, Up is not one that I choose to see. I liked it enough when I re-watched it this week, because it has touching moments as well as some funny characters, but there’s just something about it that doesn’t make me love it. I think it’s the whole sense of adventure and going to lands unknown. That’s just not me, so having Up set in such an unfamiliar place makes me less interested than the more fantastical or even mundane Pixar movie settings.

PLOT

Up begins in a movie theatre, where a small boy is watching a documentary about the explorer Charles Muntz, who went to South America in a dirigible with some dogs and claimed to bring back the skeleton of the Monster of Paradise Falls. It was later discovered to be a fake, so Muntz vowed to only return once he had captured the creature alive, however, he never returned. Still, Muntz was a hero to many, especially this young boy, Carl.

Carl heads home after the movie, but hears a girl shouting from an abandoned house. Carl is intrigued because she is shouting “Adventure is out there”, Muntz’s catchphrase; she must be a fan too. Carl goes in and meets Ellie. She lets Carl join her club for adventurers, even giving him a badge made out of a grape soda bottle top to show his commitment to the club. Ellie says she can help Carl retrieve his blue balloon which he let go of as he entered the house and has floated up to the ceiling. Ellie takes him to the next floor and tells him to walk across a wooden plank over to it, assuring him it is safe. Carl then falls through the ceiling, proving it was not safe. At home with a broken arm, Ellie returns Carl’s balloon by flying it through his bedroom window. She climbs through it too and shows Carl her Adventure Book, saying how she dreams of going to Paradise Falls, just like Muntz. She makes Carl promise he’ll build them a blimp so they can go one day.

Then, we see that Carl and Ellie got married. They bought a house, renovated it, both got jobs at the zoo – Ellie as a zookeeper, Carl as the balloon seller – and then try to start a family. However, it turns out this was not on the cards for them, and they instead try to save up to head to Paradise Falls. But life doesn’t work out that way, and they keep having to use their money to fix broken roofs, replace car tyres, etc. As they approach old age, Carl finally gets enough money to buy them plane tickets there, but as he is about to surprise Ellie with this, she is taken ill and ends up in hospital. Ellie does not recover and sadly dies, leaving Carl with only his memories and their brightly coloured house.

We then see that Carl is still living in the same house, playing out the same daily routine, and yet, everything around him has changed whilst he has stayed the same. I Carl is living in the middle of a huge construction site, refusing to sell his house to the developer. Later that day, a boy called Russell shows up at Carl’s front door. He is part of the Wilderness Explorers troop and wants to gain his “Assisting the Elderly” badge, so offers to help Carl with something. Carl isn’t interested, but Russell won’t leave until Carl comes up with something. Carl claims to have a bird problem in his yard, a made-up bird called a “snipe”. Russell vows to catch the snipe in his yard for him and heads off on his search.

Then, Carl is bothered yet again, by a construction vehicle reversing in front of him. It doesn’t stop in time and accidentally hits Carl’s mailbox. He is furious with all these workers not being careful and damaging his property. As one of the workers tries to help Carl fix the mailbox, Carl becomes angry, tells him not to touch it, and then hits him over the head with his walker, leaving the worker with a bloody gash on his head. Carl runs inside as the rest of the site staff rush over to assist. Carl is later summoned to court where he is ordered to go to Shady Oaks Retirement Village to live out the rest of his days; they’ll collect him tomorrow.

But Carl won’t come quietly. When the people from the retirement village come for him the next morning, Carl gives them his suitcase and says he just wants to say goodbye to the house. However, this was all a trick and as the nurses go to wait for him in their van, suddenly, thousands of balloons pop up behind the house and it is lifted into the air. He can finally fulfil his promise to Ellie and take them over to Paradise Falls – what has he got to lose trying anyway? As Carl settles himself in his armchair, close to his makeshift steering device, he thinks he hears a knock at the door. How can that be; he’s thousands of feet in the air? Carl ignores it, thinking it’s all in his mind. But there it is again. He goes to the door.

And who should be there, but the Wilderness Explorer Russell, who is hanging on to the porch for dear life. He says he was on the porch, chasing a snipe, which may’ve actually been a squirrel, when the house took off. He begs to be let inside. Carl initially refuses, but then relents. Russell runs inside and is soon fascinated by Carl’s floating house. Russell gives the steering a try, much to Carl’s annoyance. Then, Russell just starts talking about everything. Carl doesn’t want to hear that right now, and turns his hearing aid down while he tries to get them down so Russell can get home. But Russell starts waving his arms around, looking scared. They are about to fly right into a storm. Despite Carl’s attempts to steer them away, they are sucked in. Objects in the house start flying all over the place, and Russell is almost thrown out the front door that keeps opening and closing. Carl tries to protect all of his and Ellie’s belongings, but passes out.

Carl wakes up to find them in calmer weather. Russell is just glad he isn’t dead! Russell proudly announces that he steered them through with help from his handy GPS tracker – which he then proceeds to drop from the house. Carl plans to drop Russell at the nearest bus stop, and releases some balloons to decrease the altitude. But they come to a misty area and start to see land much quicker than they expected. The house crashes onto rocky terrain, with Carl and Russell being tossed overboard. Carl hangs onto the house by its hosepipe and almost falls off a cliff. Once the mist clears, Carl sees that they have made it very close to Paradise Falls – just the wrong side of the cliff; Paradise Falls is all the way over on the other side. Him and Russell will have to walk the house over there.

In the jungle, dogs seem to be hunting a bird, but these dogs are different because they have collars that allow them to talk. As they get close to this bird, they hear static – it is Carl’s hearing aid acting up again. Carl and Russell have made it into the jungle and are going on with their trek, despite Russell’s protests about being too tired to walk and how he needs a break. I used to whine just like that about having to walk far! Russell becomes distracted by some tracks on the ground and follows them, believing them to be the snipe. At one point, the tracks stop and Russell snacks on a chocolate bar as he figures out what to do. But the bird starts eating the chocolate. It comes through the bushes and is shown to be a huge, multi-coloured bird. Russell takes the bird over to Carl, who is shocked that his made-up “snipe” actually exists! Russell begs Carl to let him keep the bird, which he has named Kevin. Carl says he can’t, but Russell asks “Ellie”, who Carl keeps talking to, who says he can keep it. Carl can’t be bothered to argue and Kevin follows them anyway.

They get to some more rocks and hear a voice. Carl assumes there must be a human nearby, although he is thrown by the fact this man seems to say “I can smell you”. It turns out Carl was trying to converse with a rock, because no-one can see through the mist. Russell notices all the rocks are funny shapes and points out one that looks like a dog. But this dog is real! He comes over to them and they discover it can talk and his name is Dug. Dug tells Carl and Russell that his collar, built by his master, allows him to talk and that he is looking for a bird. Dug then sees Kevin and asks to take him “as his prisoner”. Carl says he can, but Russell tells Dug to leave Kevin alone.

Carl now has Russell, Kevin, and Dug on this journey and tries his best to ignore them, even trying to lose Kevin and Dug at one point by throwing a piece of chocolate and one of the tennis balls from his walker deep into the jungle – but it doesn’t work. Dug is then contacted by the other dogs, who see that Dug has the bird. They can smell people around here though, and see that Dug is with a “small mailman”. They track Dug to get to them.

Russell tries to set up camp for the night, but becomes frustrated that he can’t put up a tent. Carl is surprised that the Wilderness Explorer “expert” has never been camping. Russell tells Carl that his dad promised to take him camping but he’s busy, working away a lot. Russell says he tries to talk to him on the phone, but that Phyllis says Russell annoys his father too much. Carl is shocked to find Russell calling his mother by her first name, to which Russell responds that Phyllis isn’t his mum; his parents are divorced, or at least separated. Russell says once he gets his new badge, his father will come to the ceremony where he’ll receive it and everything will be great. He then gets Carl to promise they’ll protect Kevin, even telling him to cross his heart, which is something Ellie used to get him to do too…

The next morning, Carl wakes up to see his house’s balloons are drooping, so they need to get moving. Kevin starts calling out into some twisty rocks, where Carl and Russell learn that Kevin is a girl and needs to get back to her babies; she leaves. Shortly after, Carl and Russell – and Dug – are surrounded by dogs. The dogs are angry with Dug for losing the bird, and decide to take Carl and Russell back to their master.

They make it to a cave, where Carl excitedly learns their master is the explorer Charles Muntz! Muntz is tickled by the fact Carl is walking his house to Paradise Falls and invites them in for dinner. There, they see that Muntz has a whole pack of dogs, who work as his staff, cooking and cleaning for him. They are allowed inside Muntz’s airship, the legendary Spirit of Adventure, which doubles as a home and museum for all of Muntz’s achievements. Over dinner, Muntz tells Carl about his need to find the Monster of Paradise Falls and bring it back home, so that nobody will ever call him a liar or a fraud again. Russell sees the skeleton and says it looks just like Kevin. Carl quickly tells Muntz the bird has gone and they don’t know where it is, but Muntz knows they know more than they are letting on. Carl tries to make a quick exit with Russell, but Muntz tells the dogs to chase them.

As Carl and Russell attempt to outrun the dogs, with the floating house still on their backs, Dug tries to slow the dogs down. Kevin returns and throws them all on his back, running through the rocky cliffs to get them to safety. At one point, they reach a gorge. Kevin jumps over it, but Alpha, Muntz’s lead dog, bites Kevin’s leg, injuring her. Alpha is shaken off, and Carl, Russell, Dug, and Kevin make it to the other side. Russell patches up Kevin’s leg, telling Carl they need to get her home.

Muntz is angry with his dogs for losing them, but uses the tracker on Dug’s collar to follow. As Russell, Carl, Dug, and Kevin make it back to Kevin’s home, they find Muntz’s ship right above them. Muntz successfully catches Kevin after setting light to Carl’s home. Carl is too distracted with stopping the fire to save Kevin, and she is taken into the ship. Russell is distraught, but Carl tells him he didn’t ask for anything of this and just needs to get to Paradise Falls. He goes alone, getting his house where it needs to be.

Carl goes into his house and sits in his chair. He looks at Ellie’s Adventure Book, disappointed she couldn’t be here too. Carl then sees pictures in the back of the book he’s never noticed before. It’s pictures of their life together, with a note from Ellie telling him to have a new adventure of his own. Carl knows what he needs to do. Carl tries to speak to Russell, but he goes off to get Kevin, using just a few balloons and a leaf blower. Carl throws all his furniture out of the house so it can float again and he can follow him. Dug knocks on the door and sadly says he was there because he loves Carl. Carl tells Dug to get inside and agrees to be his new master.

Russell gets over to Muntz’s airship but is quickly caught and tied up. Muntz then sees Carl’s house through the window. Muntz puts Russell on the gangway and it starts to open, causing Russell to fall out of the ship. Carl catches him just in time and puts Russell inside the house, telling him to stay there. Carl goes on to Muntz’s ship with Dug. Using the vents, Carl and Dug get to Kevin, who is being guarded by the dogs. Using another tennis ball from his walker, Carl distracts the dogs and shuts the door on them. They alert Muntz. Russell then proceeds to not do as he’s told and falls out of the house, clinging onto the hosepipe to save him, but the house now starts to float away, as the hosepipe was tying the house to Muntz’s ship. Muntz orders his dogs to shoot down the house, as he goes after Carl. The two have a sword fight, and Carl manages to escape after spitting his false teeth into Muntz’s face! Him and Kevin get on to the roof, with Dug being pursued by the dogs. Dug manages to put Alpha in a “cone of shame”, making Dug the new Alpha.

Meanwhile, Muntz has followed Carl and Kevin to the roof. Russell has managed to climb the hose and flies the house towards them. Dug arrives and they all get into the house, but Muntz shoots at the house, causing it to fall. Carl jumps out and tries to save the house and everyone in it from falling. Muntz bashes his way into the house with his shotgun. As Russell, Dug, and Kevin cower in the living room, Carl has an idea; he tells Russell to grab hold of Dug and Kevin. He waves a chocolate bar at them and Kevin jumps through the window to get it. Muntz attempts to follow but his legs get caught in balloons and he falls.

Kevin, Dug, and Russell didn’t make the jump – but they are found dangling on the hosepipe. That hose was attached to the house, and now it is not. Carl watches as his house falls to the ground, knowing he did the right thing. They then reunite Kevin with her babies, and Carl, Russell, Dug, and the other dogs take the airship home.

Back home, Russell is at his badge ceremony, having successfully “assisted the elderly”, but his dad doesn’t show up to pin it on him. Carl arrives to do this instead, but actually gives him the grape soda badge Ellie gave him as a child. Carl says Russell rightfully deserves to have “the Ellie badge”. Although Russell’s father was not there to see this, his mother was, as was Dug, and all the other dogs. Carl and Russell then sit on a curb together eating ice cream and counting cars like Russell remembers doing with his dad as the Spirit of Adventure flies above them. We also see that Carl’s house drifted down to the exact spot by Paradise Falls where Ellie and Carl had always dreamt of living.  

CHARACTERS & CAST

Carl Fredricksen is a bit of a curmudgeon at the beginning of Up, but it’s not entirely his fault he acts this way. His wife has died, and her memory is everywhere within his house, and he is feeling pressure to sell his beloved home as it sits within a construction site. Life has gone on without him, and Carl is struggling to figure out how to move forward. Instead of accepting that his life is over, Carl comes up with a crazy plan to keep his home and his childhood promise to wife Ellie to finally take her to Paradise Falls – and how is he going to do that? With a ton of balloons, obviously. This crazy idea leads Carl to Paradise Falls, but this journey also leads him to a kid who just wants to feel supported; to a dog who wants a kind master; and a bird who just needs help to survive. Carl, with help from Russell and Dug, manages to save Kevin from Carl’s former hero-turned-madman Charles Muntz. They then learn to take care of each other. Carl becomes Dug’s new “master”, giving Dug a home and Carl a new purpose in life. Russell also gives Carl some purpose, as he never had children so felt alone in the world without Ellie. Now he has Dug and Russell, Carl doesn’t have to be isolated anymore, and it gives him a reason to keep on living and feel more upbeat too.

Ed Asner was chosen to be the voice of Carl. Asner is known for his portrayal of the character Lou Grant in the sitcom The Mary Tyler Moore Show (1970-77), and then reprised his role in the spin-off Lou Grant (1977-82). He won numerous awards for his character in these shows, including three Golden Globe Awards in the 1970s and five Primetime Emmys throughout the 1970s and into the 1980s. Asner was no stranger to voice acting either. Prior to his role in Up, he had voiced the character of J. Jonah Jameson in the animated series Spider-Man (1994-98), as well as voicing minor roles in other series such as Recess (1997-2001) and W.I.T.C.H. (2004-06). More recently, Asner was cast as Abe Rifkin in the Netflix series Dead to Me (2019-22), and Claude in Muppets Haunted Mansion (2021). He was also Santa Claus in Elf (2003).  Asner continued to reprise his role as Carl in other Pixar projects until his death in 2021. He stated that he liked voicing the role and even finished the movie wanting to be more like Carl[2].

Then we have Russell, who is dedicated to becoming a great Wilderness Explorer. Wilderness Explorers are just like the Scouts or something similar, working towards badges and doing outdoorsy activities, like tracking animals and camping. Russell hasn’t had his father around to help him with some of these activities, but he continues to try his best and has a lot of badges to prove his hard work. Russell meets Carl – or Mr. Fredricksen, as he is known to Russell – because he needs to assist someone elderly to get his next badge. After Carl tells Russell to hunt a fictional bird called a snipe, Carl is forced to spend more time with Russell as they end up stuck on Paradise Falls together. Carl ropes Russell into walking his house over to the waterfall so that Russell can properly assist him and get sign-off on his badge. Although this isn’t exactly what Russell had in mind, it leads to him meeting and protecting an endangered animal, the “snipe” Kevin. Even when Carl seemingly abandons Kevin, and puts her in harm’s way, Russell is determined to rescue her from Muntz and reunite her with her babies. It’s Russell that really knocks some sense into Carl, who knows he was wrong to abandon Kevin and can’t let Russell be in danger as well. Russell helps Carl become a happier person, by allowing him to focus on a new adventure, instead of living his life in the past. Russell needs a fatherly figure in his life and with his father busy, he is only too happy to have Carl there for him.  

Russell was voiced by Jordan Nagai. Pixar were quite adamant they did not want to hire a kid who already had acting experience, as they wanted someone who was just as innocent and unsure as a child would be in the situations that Russell finds himself in. In this way, Jordan Nagai was just like a regular kid, however, because of this, he did struggle at times with his recording sessions. Co-director of Up, Pete Docter, worked with Nagai on this, doing different exercises with him to get Nagai to deliver his lines in just the right way. Russell is an incredibly likeable character, so Nagai did a great job with his voice acting here. Nagai has since moved away from acting and is seemingly pursuing a different career.

Then there is the adorable, lovable Dug. He is just one of Charles Muntz’s pack of dogs, with there being around fifty of them. Muntz’s other dogs have been trained well, either being sent away to track the bird, what Muntz calls the Monster of Paradise Falls, or being used as Muntz’s “household staff”. Dug isn’t exactly like that, because he isn’t particularly focused and although he tries hard to track the bird, Dug isn’t as competent as the others at doing this. I’m surprised Dug wasn’t just Muntz’s pet, to be honest. Anyway, luckily, he wasn’t otherwise we would never have seen him in this movie. Instead, Dug is a key character, abandoning Muntz as his master and joining Carl and Russell on the “good guy side”. Dug initially wants to take Kevin back to Muntz as “his prisoner”, but soon learns that he’d rather be with Carl and Russell, as they are kind to him and don’t order him around. Dug fully betrays his master by helping Carl and Russell escape the other dogs, and then has a big moment in the final battle as he manages to lower Alpha’s rank within the pack and inadvertently make himself the new leader, making his journey go full circle as it wasn’t long before that he was placed in “the cone of shame” for his incompetence.

Bob Peterson, the co-director of Up, voiced Dug and was very happy to do this, because Dug is a joyful dog who loves everyone and everything. He is a young labrador and it is said these dogs have very little short-term memory, which is just Dug all over[3]! Peterson also voiced the leader, Alpha, who has two different “voices” in this movie, his real deep tone of voice, and then the high-pitched one when his collar is broken. Peterson had worked on the earliest Pixar movie, Toy Story (1995), within the animation department, and continued to work on other Pixar films in both a story and voice acting capacity. For example, Peterson co-wrote the screenplays for Finding Nemo (2003) and Cars 3 (2017), but has also voiced other Pixar characters, including Roz in Monsters, Inc. (2001) and its spin-offs, and Mr. Ray in Finding Nemo. Peterson also wrote, created, and directed, as well as reprising his voice role of Dug, in the animated short series Dug Days (2021-23).

The dogs Beta and Gamma were voiced by Delroy Lindo and Jerome Ranft, respectively. Lindo has recently appeared as Adrian Boseman in The Good Fight (2017-22) and as Edwin Alexander in the Hulu series UnPrisoned (2023-24). Lindo has also been cast in the upcoming horror film Sinners (2025), which will star Michael B. Jordan. Jerome Ranft is the brother of Pixar legend Joe Ranft, who passed away in 2005. Ranft is a character sculptor for Pixar having worked on many of their movies including A Bug’s Life (1998); Finding Nemo (2003); Cars (2006); and Brave (2012). Ranft took over two voice roles in two sequels from his brother: Jacques in Finding Dory (2016) and Red in Cars 3 (2017). 

Finally, we have the villain of Up, Charles Muntz. He was a heroic explorer who discovered new lands and creatures, bringing them back to the US to show off his discoveries. However, when his latest skeleton of the Monster of Paradise Falls is found to be a fake, Muntz vows never to return home without bringing the bird back with him alive. Because of this, and Kevin’s skill for losing hunters, Muntz has been stuck in Paradise Falls for decades, trying to get this bird so he can go home and prove he wasn’t a liar. For Muntz, this is all about his pride; he doesn’t care about conservation or animals, and doesn’t even consider the distress Kevin is in at the point she is captured, or about the fact she has babies that need her and will die without her. Muntz just needs to get the bird and then get home – and he doesn’t need an elderly man and a child stopping him from doing so.

Charles Muntz was voiced by Christopher Plummer, perhaps best known for his role as Captain von Trapp in The Sound of Music (1965). Plummer portrayed Rudyard Kipling in The Man Who Would Be King (1975) and in more recent years appeared as John Adams Gates in National Treasure (2004); as Henrik Vanger in The Girl with the Dragon Tattoo (2011); and replaced Kevin Spacey as J. Paul Getty in All the Money in the World (2017), for which he was nominated for Best Supporting Actor at the Oscars. Plummer had won the Best Supporting Actor Oscar for the role of Hal Fields in the comedy-drama film Beginners (2010), winning other accolades as well. Plummer was also cast as Harlan Thrombey in the mystery film Knives Out (2019). In terms of voice roles, Plummer had some experience of this prior to Up, having voiced Henri le Pigeon in the Don Bluth film An American Tail (1986) and narrating the animated preschool series Madeline (1993-2001). Plummer also had a long history of the stage, starring in adaptations of Shakespeare’s plays throughout his life, and also starring as Cyrano in the 1974 original Broadway production, for which he won the Tony Award for Best Performance by a Leading Actor in a Musical, having also played the title character in the TV movie Cyrano de Bergerac in 1962. Plummer passed away in 2021.

There is another voice actor to briefly mention in Up and that is the recurrence of Pixar’s favourite voice artist, John Ratzenberger, who voices the construction foreman Tom.

MUSIC

The score for Up was composed by Michael Giacchino. His first score for an animated movie was on Pixar’s The Incredibles (2004), for which he was nominated at the Grammy Awards for Best Score Soundtrack Album and Best Instrumental Composition. Giacchino then continued to collaborate with Pixar filmmakers, working on the music for Ratatouille (2007), winning a Grammy for Best Score; Cars 2 (2011); Inside Out (2015); Coco (2017); and The Incredibles 2 (2018). Giacchino also composed the music for Disney’s Zootopia (2016). Outside of Pixar, he has composed music for the most recent Spider-Man films, the three latest Jurassic World movies, and for the series of Disney television Christmas specials, Prep & Landing (2009-11). Giacchino was also nominated for Primetime Emmy awards for his work on the series Lost (2004-10), winning one for his underscore of its pilot episode.

I can’t talk about Up’s score without mentioning the most recognisable track, “Married Life”, which is the sequence showing Carl and Ellie’s life together. In many years to come, I think this piece of music will be on lists of the best movie themes, alongside greats such as the themes from James Bond, Indiana Jones, and Star Wars. This track is bright and sunny when it needs to be happy; and melancholic and slow when it needs to be sad. It corresponds perfectly to what is being shown on the screen.

But it would be unfair to say “Married Life” is the only good piece of music within Up, especially as many of the motifs within this piece feature in others. A slower, quieter version of this is basically the track “Stuff We Did”, which can be heard as Carl is flipping through Ellie’s Adventure Book in Paradise Falls. “Up with Titles”, which features during the Opening Credits, is happy and upbeat, and reminiscent of the music of the jazz era. I also like the piece “Carl Goes Up”, when the house actually lifts into the air and flies away. This is a huge moment for Carl, and is suitably dreamy, as many of us at some point in our lives have wished we could fly – and what better way than to do that in your own home.

In terms of creating a sense of adventure, “Escape from Muntz Mountain” is a good example, which is used when Muntz’s dogs are chasing Russell, Carl, Kevin, and Dug over the rocky terrain near to Muntz’s cave. This is a more perilous moment for the group, whereas the battle scene with Muntz feels more determined; they have to save Kevin or die trying is what it feels like, so “Seizing the Spirit of Adventure” feels less like a scary moment, although it still evokes the feeling of threat and peril at times. I also like “Memories Can Weigh You Down”, which marks Carl’s decision to go and save Kevin – and Russell, who has gone off on his own to save him.

You can also hear an excerpt from a famous opera in Up, and that is an instrumental version of the aria “Habanera” from the opera Carmen, composed by Bizet. This plays as Carl gets ready for his day, very slowly and moodily, early on in the film, before seemingly setting out to go about his day – before making a quick right turn to just sit on his porch and look at all the construction going on around him.

The score for Up was nominated at many award ceremonies. One of these was at the Academy Awards, where it won the award for Best Original Score – a first for Pixar – despite competition from the blockbuster Avatar (2009), as well as The Hurt Locker (2008).

Up’s music was also nominated at the Annie Awards for Best Music, where it surprisingly lost out to Bruno Coulais’ music for the animated movie Coraline (2008); at the BAFTA Film Awards for Best Film Music, which it won; the Critics’ Choice Awards for Best Score, where it also won; and the Golden Globes for Best Original Score, winning yet again. At the Grammy Awards, Up received further nominations, for Best Score Soundtrack Album and Best Instrumental Composition for Michael Giacchino, winning both of these, as well as Best Instrumental Arrangement for Giacchino and Tim Simonec and the track “Up With End Credits”, losing to “West Side Story Medley”, arranged by Bill Cunliffe.

This is just the awards won at the “major” award ceremonies. Up won more awards for Best Original Score or Best Music at other ceremonies.

PRODUCTION

The initial concept for Up came from a simple drawing of a house buoyed by balloons. Pete Docter started to think about who would be in there, and where they would be going. Docter began to develop this idea with Bob Peterson. After Docter drew a sketch of a grumpy old man holding balloons, this gave them a further idea to work from[4].

It then had to be decided where this house was going and the thought of having this old man and a kid stuck together somewhere remote was the most appealing. After watching a documentary by Adrian Warren about table, or flat-topped, mountains in the jungles of Venezuela, they felt this was a great place to set their movie and so they and others from the Pixar team went to Venezuela to see these mountains in person.

After a long journey from San Francisco, near to where the Pixar Studios are based, to Caracas, Venezuela’s capital city, and then onto smaller towns, they arrived via helicopter at the base of Mount Roraima. The group were in awe of the looming rock above and couldn’t believe it was possible to climb it. But climb it they did, over mud, plant roots, rocks, and unsteady ground. It was a difficult trek but they made it to the top of the flat-topped mountain, or tepui as they are also known, and set up camp so they could study the rock formation, the plant life, and even the weather systems from that height.

On these mountains, the Pixar team found that the rocks formed strange and seemingly structurally unsound shapes. They learnt this was caused by the layers of sandstone that formed them, with softer layers being weathered away over the years, leaving holes in some of the rock works. It was also discovered that these mountains have their own weather systems as they are so high up, with rock sides being heated from the sun causing swirling clouds that descend like a mist. The weather would change quickly, going from sun, to cloud, to storms and rain in just a few minutes.

They were also able to discover other areas including the Valley of Crystals, which is, as the name would suggest, an area full of quartz crystals, and the Kukenán-tepui. This was a very inhospitable area, full of rocky and marshy areas, meaning there was no place to camp. Instead, they took a helicopter over there, expecting just to be there for an hour or two to study the landscape. It was so full of rocks that it created mazes, and supposedly people have vanished in these labyrinths. At the end of their time there, the helicopter came back for them but the group had to be taken off in batches. At this point, as half the group had been returned, a storm closed in and the helicopter was unable to retrieve the rest. Those remaining had to hurdle under one rock structure that only allowed for the group to stand and be sheltered from the weather. The storm lasted longer than they expected, and as they were preparing to spend the night there, the helicopter returned just before dark.

After their mountain experience, the Pixar team were off to Canaima National Park to see the famous Angel Falls, which is the tallest waterfall in the world. It is so tall that water vaporises, creating a mist, before it even hits the bottom of the rock face.

All of these sketches and experiences in Venezuela created countless moments of inspiration for the movies, such as Angel Falls itself being the inspiration behind Paradise Falls; a rock being mistaken for a person being something that happened to some of the team in real-life and something that Carl and Russell experience; as well as cave systems being used for the design of Muntz’s cave[5].

Now they had the overall setting confirmed, they had to work on the house. Since Ellie and Carl are seen renovating their new house, everything had to be a bit clumsy and imperfect, however, the house remains cosy. The team were inspired by the grandparents’ houses, full of knick-knacks and mementos, with old-fashioned furniture and worn carpets. The Up house had to look lived in. To properly animate this house, a wood model was created and painted to look just like the house, and was filled with mini furniture and lighting like it was a little dollhouse. This helped show the animators how everything would look inside, but also helped with the floating aspect of the house, since we would be seeing the bottom of the house for much of the film, as it floats above Carl and Russell whilst they walk it through Paradise Falls. It’s unusual to see the underside of a house, so the Pixar team had to look at houses on stilts to see just what it looks like. Unsurprisingly, it’s kind of dirty[6]!

It is believed by some that the inspiration for Up came from a real house called Whitewood Cottage in Seattle. It was owned by Edith Macefield who bought the house in 1952 and lived there with her mother. Her mother died in 1976. Gradually, the houses surrounding Whitewood Cottage began to be sold to make way for a development project, however Macefield refused to sell, receiving media attention in 2006 when she turned down a reported offer of $1 million for her house. In the end, Macefield left her house to a construction worker after she died in 2008. This worker had cared for her when she was ill. Whitewood Cottage was later sold for around $300,000 to a developer and has changed hands a few times since then. Currently, the house remains standing surrounded by high-rises[7]. Because of the extraordinary similarities between Carl’s story and Edith’s, many claim that Up used this story as inspiration, however, work on Up began in 2004, whereas Edith’s plight to remain in her home reportedly did not come to be known until 2006. Pixar did tie balloons to the top of Whitewood Cottage as publicity for Up in May 2009 though.

Obviously, Edith’s house did not actually fly away, but Carl’s had to, just with balloons. Pixar animated around 10,000 balloons for the movie, and made them realistic with their buoyancy, strings hitting each other, and some coming loose and flying away after the “big reveal”. However, the number is not realistic at all, as millions of balloons, not thousands, would actually be needed to make a house fly. Up may not be scientifically accurate but that shouldn’t be a huge surprise really. The use of Muntz’s dirigible is closer to real-life though as other dirigibles and airships were studied[8].

Then, there are character designs and story points. The character of Carl began life as a sketch of a grouchy guy holding colourful balloons. This sketch was used to develop the character further. The team at Pixar went to a care home to research not only the look of elderly people, but also for their behaviours and their movements, as this was going to be the first time Pixar had featured an elderly man as the protagonist in one of their movies, dubbing him a “geriatric hero”. It’s quite rare generally for older people to be the focus of any story, so this film showed that just because someone is getting older doesn’t mean they’ve lost their zest for life; they just might need help finding it again. By observing older people, the animators were able to successfully recreate the lines of the face, such as forehead lines and crow’s feet, as well as limitations of movement, like in the fingers and back, to turn the character of Carl into an accurate representation of an older person. Carl might struggle to walk fast, or be able to beat someone up like a boxer, but he’s a tough old guy, willing to fight for what’s right[9].

It apparently took a while for Pixar to settle on a character design for Russell. All manner of kids were drawn: shy ones, smart ones, tall ones, skinny ones. In the end, animator Peter Sohn drew a version of his younger self, which inspired the design and he became the accidental reference material for the character. Russell is a very excitable, enthusiastic kid, who just wants to help everyone all the time and talks perhaps a little bit too much! Although it is not unusual in movies for the main child character to be missing a parent, in one way, Pixar were fairly progressive here because it was openly discussed that Russell’s parents are simply not together anymore, either divorced or separated. This is a new concept for Carl, who wouldn’t have grown up in a world where this really happened, so to see Russell discussing something that many children go through in modern times must have been positive for many young viewers watching Up who were going through a change in their family life. Russell is also Pixar’s first Asian-American character[10].

Pixar did research on canine behaviour to look at how Muntz’s dog pack would interact with each other. They specially learnt from Dr. Ian Dunbar, a dog behaviour expert, who consulted the team on things such as dog behaviour and hierarchy. Dunbar says that hierarchy is maintained by lower individuals proving they are not a threat to the leader, instead of the leader needing to be particularly vicious. In Up, Alpha is the designated leader of the pack and there are multiple instances when Dug and the others cower in front of him to show this. This type of behaviour leads to harmony in large groups of dogs. The team also used reference material of dogs running on uneven ground and hazardous terrain to learn how they would move in the chase scene when Muntz has ordered his dogs to get Carl and Russell after he learns of their knowledge of the bird.

Next, there is Kevin, who was “voiced” by Pete Docter. Again, it was a struggle to design Kevin as there were so many ways the character design could go with Kevin being an imaginary bird. They just knew it had to be something interesting to have kept Muntz in the jungle for fifty years searching for it. Initially, they looked towards North American mythology, for the story and design of the Thunderbird, who could create thunder from the flap of its wings. Then they tried making Kevin a golden bird. In the end, they settled on making Kevin a cross between an ostrich and a parrot, which meant looking at lots of ostriches for reference material, to see how they walk, bob their heads, and use their necks. The parrot element of Kevin comes from her colourful, iridescent feathers. Kevin is the character that brings everyone together, as each character is looking for Kevin. Russell and Carl want to save her, whilst Muntz and his dogs want to capture her. Muntz sees Kevin as the key to proving his sanity and is the target of his obsession, whereas for Russell, Kevin is just his friend. Carl wants to protect Kevin as Ellie was a zookeeper and loved animals[11].

Muntz had many different endings in initial story drafts of Up, including one where he was somewhat redeemed by having a conversation with Carl about how he too had lost his wife, but it was decided there was too much talking here, detracting from the real focus of the story: Carl. Instead, it was decided Muntz would have to be killed off in some way. One initial idea was to have Muntz get lost forever in the “twisty rocks” as he followed Kevin in to the area. Then, it was decided that there should be a battle scene on the airship, but Muntz would’ve been stuck in the house and fallen with it. The Pixar team felt this was a bit weird as the house was a representation of Ellie, so leaving Muntz with her was a strange thing to do. Next, they had him leap out of the house and get caught in balloons, but he would’ve been pulled up into the air. This left too much discussion around whether he was really dead or not, so this idea was simply adjusted slightly to have Muntz go down with the balloons, thus allowing him to join the group of villains who die by falling, such as Gaston in Beauty and the Beast (1991) and Mother Gothel in Tangled (2010)[12]

Finally, we can’t talk about Up without mentioned the “Married Life” sequence. In the story, Pixar felt they had to show life Ellie and Carl’s life from marriage to old age, and even more importantly, the audience had to learn about Ellie and what she was like to see why Carl would go through this journey for her. But there was a slightly less touching version of this sequence that began…with punching.

Sure, some kids show they like each other by play-fighting with them, and in this case, Carl and Ellie’s relationship all started with a punch that Ellie gave Carl after seeing him try to trap a bird as a kid. This then evolved into a punch war, until one day, Carl starts to look at Ellie differently. We would have then been shown their graduation, dances, days out, picnics, a visit to the C.F. Muntz Museum in their town, where Ellie would get a job as a tour guide and Carl as a balloon salesman, and then on to the marriage, house, etc. that we see in the actual version. It did look like, in this storyboard, that Carl and Ellie are booked to go to Venezuela, however, Carl seemingly doesn’t want to get on the plane. Ellie then falls ill so they cannot try and go again. This would’ve been an interesting point for the final movie because if Carl had felt unable to go, meaning that the one-time Ellie could’ve gone they did not, that would’ve given Carl a huge amount of guilt to cope with, which would’ve made him even more determined to get to Paradise Falls than the version of Carl we get in the final movie. Yet, the whole punching thing is a bit weird, and I’m glad they did not go with that version! There was also going to be dialogue here, but after looking at old home videos, the Pixar team found that it would be better to avoid having dialogue and just have the music and visuals[13].

RECEPTION

Prior to Up’s main theatrical release, which saw the movie being released in 3D as well as 2D, becoming Pixar’s first 3D movie, Up was actually first shown at the Cannes Film Festival, where it opened the 62nd festival event. The Cannes Film Festival in 2009 ran from 13th May to 24th May, meaning that Up premiered there just a little over two weeks before it would premiere in theatres. Up was the first animated movie to ever open the event. Sometimes film festivals can be snobby when it comes to animated movies, so this shows that appreciation for them is building over the years[14].

Up premiered in US theatres on 29th May 2009, after it had its red-carpet premiere at the El Capitan Theatre on 16th May. It later premiered around the world over the next few months. I am slightly confused as to when Up was released in the UK, as some sites claim it wasn’t until October, however, I’m sure I remember watching this in the height of summer on a particularly hot, sunny day in a cinema that didn’t have good air conditioning, so that must’ve meant it was released during the summer holidays so probably July or August, but I guess I’m wrong…I can’t find anything to prove either way which month it was.

The Pixar short Partly Cloudy was shown prior to Up, as is the way with Pixar movies; you normally get something before them. In this case, Partly Cloudy was about storks delivering babies, both human and animal, which they are presented with by all-powerful clouds. However, one cloud struggles to make cute things, so his stork delivery man ends up getting injured by all these creatures he has to deliver. In one case, a little crocodile or alligator bites his head; another time a ram hits him in the stomach; then there’s the cute sheep that turns out to be a spiky porcupine. The cloud later sees the stork flying to another cloud, so believing it has been replaced, begins to cry and rain. The stork was actually only at the other cloud to get protective equipment, like padding and a helmet; it wasn’t leaving the cloud. The cloud is happy about that and gives the stork it’s next delivery: an electric eel! It’s not one of the most memorable or funny Pixar short films, but it’s decent.

Reviews for Up were amazing, however, if you have read any of these, you’ll know that what got the biggest focus was the sequence of Ellie and Carl’s life together, the “Married Life” sequence. The opening fifteen minutes that follow Ellie and Carl’s time together are admittedly very moving. Although neither of them had a particularly exciting life, they were clearly very happy together and perfect for each other. So, to see all of that come to an end with Ellie’s passing is difficult for many to experience, especially those who have been through a similar loss, and even worse, it happened so early in the film. We’re already devastated at the loss of a character we only knew for a few minutes, so that set everyone up for what was going to come next. We were invested in Carl and his journey from this point on. This sequence got everyone talking and it even has its own Wikipedia page, showing how it will likely go down in history as one of the best movie moments ever.

However, for some people who watched Up, this was in fact the best part of the movie and anything after that was not deemed to be as good. They say that Dug and Kevin were seen as the funniest characters, and some of these moments balanced out the less exciting parts to make it a good film, but not an amazing one. I can understand how hype around a movie could lead to disappointment if it does not live up to the expectations in a viewer’s mind, which is likely what happened in these cases. Up is also not considered one of Pixar’s best films looking at it from a contemporary point of view, as Pixar has made some amazing films since 2009, such as Inside Out (2015) and Coco (2017). Some even said Up lacked the heart of the earliest Pixar films and featured a one-dimensional villain. I disagree with both of these statements. I don’t know how a movie that can make even the most emotionally closed-off person cry could be called “lacking heart”. Muntz is not a one-dimensional villain either in my view, because it’s quite clear his pride and his obsession are what is causing him to chase after Kevin and endanger the lives of Carl and Russell. He doesn’t change during the movie, and if anything, just gets more villainous, but I’d say as a person, he is quite complex; he’s not evil for evil’s sake, he thinks what he is doing is fine and good for his career.

On the positive side, reviews also stated how Up was a showcase of digital animation. It was also a good step for Pixar into adventure films, like Indiana Jones, without focusing too much on action sequences or moments of peril, and instead looking at people and how they interact with others. Carl and Russell both feel like something is missing in their lives and throughout the film, find that they can help each other. Russell becomes Carl’s honorary grandson; and Carl is his honorary grandfather.

As well as amazing reviews, Up ended up being one of the highest grossing movies of the year in terms of worldwide box office, sitting at No. 6, even with big competition such as Avatar; Harry Potter and the Half-Blood Prince; and The Twilight Saga: New Moon[15]. It made just over $730 million at the box-office.

But most exciting was the response that the Academy Awards gave to Up because it became only the second animated movie to be nominated for the Best Picture Oscar. The first was Beauty and the Beast (1991), before the Best Animated Feature category was even made. There has only been one other movie since Up to be nominated in this same category and that was Toy Story 3 (2010). All three just happen to be Disney or Pixar movies[16]. Up was also nominated for Best Original Screenplay and Best Sound Editing.

Up did not win Best Picture, losing to The Hurt Locker (2008), which also won in the Best Original Screenplay and Best Sound Editing categories. But Up did win the Best Animated Feature Oscar. At the BAFTA Film Awards, the Critics’ Choice Awards, the Golden Globes, and the Annie Awards, Up also won in the Best Animated Film category. It won the Annie Award for Best Directing in a Feature Production too. This is just the awards won at the “major” award ceremonies; Up won plenty more awards at other ceremonies.

LEGACY

After Up’s release, one character in particular captured the hearts of the people – and that character was Dug, probably because he’s a talking dog, and most people like dogs. I don’t particularly like dogs, but if Dug was a real dog, I’d like him.

This love of Dug led to a short film all about him called Dug’s Special Mission. In a way, this is a prequel because it shows Dug and his interactions with Alpha and the pack prior to his meeting Carl and Russell. Dug’s Special Mission sees Dug telling the pack that it’s his birthday today and he wants to do something to help them find the bird. Dug, however, constantly gets in the way, according to Alpha, so Alpha sets out to trick Dug by telling him to do pointless tasks that he tells Dug are very important, such as watch the bird’s favourite rock, stay in this hole until the bird comes, sit on this rock etc., however, inadvertently, Dug causes more chaos doing these simple tasks, so Alpha gets angry and radios over to Muntz to say Dug is a bad dog. This makes Dug very sad who runs off, believing his birthday is ruined. He then starts to hear human voices and can smell their scent. Dug says “I can smell you” and runs over to them. It is Carl and Russell. Dug says this was a good birthday for him, because he got his wish to have a new master and it then became the happiest day of his life[17].

Dug’s Special Mission was released as a special bonus feature to be found on the Blu-Ray and DVD releases of Up, with the US versions coming out in November 2009. Bob Peterson, Delroy Lindo, and Jerome Ranft return as Dug, Alpha, Beta, and Gamma respectively. Ed Asner and Jordan Nagai are also credited as returning to voice Carl and Russell; however, I think all their lines are from the original movie scene.

There was even a short film made, only about four minutes long, about the two nurses from Shady Oaks who attempt to pick up Carl at the start of Up. These nurses are called George and A.J., and that is the title of this short. What happens in George and A.J. is that we watch them as they see Carl’s house take off with his balloons – Russell can even be spotted clinging on to the underside of the house. George and A.J. then return to their van in complete shock and proceed to remain shocked for over a week. Carl’s “escape” even makes the news and every elderly resident who has seen the news report cheers that one of their own finally got free. One week later, George and A.J. are back to collecting the elderly to take to Shady Oaks, however, they are shaken by their experience and now find that the elderly are fleeing in their houses in unusual ways, such as on a hovercraft and with a herd of cats. Then Shady Oaks itself is launched into the air. As George and A.J. stare perplexed at the area, a shadow descends over them. They look up and see an airship about to land of them, with Carl at the helm and Russell beside him. The airship does not fall on them, but does crash onto their van. George and A.J. are then approached by Dug, the talking dog, and stand there shocked again. George was voiced by Jason Topolski and A.J. by A.J. Riebli III. Bob Peterson reprises his role as Dug, but Carl and Russell are voiced by fellow Pixar employees, Steve Purcell and Peter Sohn respectively. George and A.J. was not released theatrically or on DVD, but instead was released on iTunes as an extra feature after purchasing the movie there. It was later included on Pixar Short Films Collection, Volume 2 DVD, released in November 2012, and later came to Disney+. The animation style does not match that of Pixar’s usual short movies, and is quite basic, done in a “storyboard” style.

Over ten years later, in September 2021, Dug returned again for his own series of shorts called Dug Days. The first five episodes all premiered on Disney+ on 1st September 2021, with a sixth and final episode Carl’s Date, first premiering as the short film that accompanied the theatrical release of Pixar’s Elemental on 16th June 2023. It later came to Disney+ in September 2023. This series sees Dug and Carl moving into a new house in the suburbs, having sold the Spirit of Adventure airship. It follows Dug and Carl going about their day in the neighbourhood with Dug causing his usual mayhem! Carl’s Date was slightly more special as it saw Carl trying to figure out if he is ready to go on a date with a new woman – Ms. Meyers, who also happens to have adopted the former Alpha, now Beta – feeling like he is betraying Ellie by doing so. Carl agrees to go on the date but becomes worried and nervous about doing so, trying to cancel. Dug then tells him he should go and says he’ll come along too if that would help. As it’s time to leave for the date, Carl speaks to Ellie’s photo and says she’ll always be his girl. It’s the sweetest Pixar short I’ve ever seen.

This series consisted of shorts that were between five and ten minutes long, and saw the return of Ed Asner and Bob Peterson as Carl and Dug. Carl’s Date became the last project that Ed Asner worked on for Pixar, having recorded his lines prior to his passing in August 2021. This felt like a real finale episode and tied up Carl’s journey. Every episode was created, written, and directed by Peterson.

At the Disney Parks, since Up is a fairly popular Pixar movie, there are multiple experiences and characters from the movie at most of the six properties. At Walt Disney World, specifically Disney’s Animal Kingdom Park, there is a great activity for children and families which involves you becoming a Wilderness Explorer just like Russell. Throughout the park, there are stations set up in different areas that allow you to take part in a specific activity which will lead to you earning yourself a badge, which is actually a sticker. There are many of these to experience with the stickers being collected in a small booklet. You can also see Kevin wandering around this park, specifically around Discovery Island, interacting with guests and generally just being her bird-self. There is no set place to meet Kevin, as she is a “roaming character”, and times she is about may change.  

Former experiences at Walt Disney World included an earlier iteration of the Feathered Friends in Flight! outdoor show in Animal Kingdom at the Anandapur Theater in Asia. This show was initially called Flights of Wonder and premiered on the opening day of Animal Kingdom on 22nd April 1998. This ran until 31st December 2017, when it closed to be rethemed to UP! A Great Bird Adventure. This version mixed up the narration of the show, by adding a new guide called Anika as well as seeing Russell and Dug added into the show. UP! A Great Bird Adventure opened on 22nd April 2018 for the park’s 20th anniversary, but due to mixed reception, it went through multiple re-writes until it closed on 12th March 2020, when Walt Disney World closed for the COVID-19 pandemic restrictions. It reopened as Feathered Friends in Flight! in July 2020 when the parks reopened, but the core concept of the show being about birds has remained the same. I have also seen that at Walt Disney World’s former Downtown Disney area, now named Disney Springs, there was an inflatable version of the Up house that was seen for a period of time around the time of Up’s release, so Summer 2009, as promotion for the new movie. It was situated next to the AMC Theatres. To be honest, it was not exactly a work of art and looked a bit low-budget!

At Disneyland, you’re more likely to see areas themed to Up in their Disney California Adventure Park. One such area was the Redwood Creek Challenge Trail, which is an outdoor play area complete with slides and play equipment, originally opened in 2001. It was rethemed to Up around 2010/11, after having previously been themed to the Disney movie Brother Bear (2003). In this challenge trail, guests could earn six badges throughout the area, and then make their way over to an outdoor stage to become a real Senior Wilderness Explorer by watching and taking part in a ceremony, which had Russell make a surprise appearance at the end[18]. It would appear that this theming has since been removed, when the trail reopened around July 2021.

 For Pixar Fest 2024, Disney California Adventure did have some references to Up including the house “flying” over Disneyland’s Sleeping Beauty castle as part of their Together Forever: A Pixar Nighttime Spectacular fireworks show. The “Married Life” sequence and other moments from Up were projected onto the castle, as some of its music played. As part of the Better Together: A Pixar Pals Celebration Parade for the event, you could also see Russell riding on Kevin’s back and a float with Carl and Dug following on behind. These were limited time experiences for Pixar Fest which ran from 28th April to 4th August 2024. It is reportedly not returning for 2025; however, the parade apparently will be in the summer of 2025. You may also be able to see smaller references to Up and its characters at places like Pixar Pier, the Lamplight Lounge restaurant, and Pixar Place Hotel.

At Hong Kong Disneyland, there is a summer stage show called Adventure is Out There, which features characters from Disney and Pixar movies. It is named after Charles Muntz’s catchphrase from the movie, and Russell makes an appearance at the start of the show, as the hosts teach guests the iconic Wilderness Explorer call, and at the finale. It also features performances from characters such as Moana and Stitch. This stage show was a new offering for 2023 that did return in 2024 with some changes. It may return in 2025.

At Disneyland Paris, there is a stage show that involves characters, film clips, and music from Pixar movies. One of these segments features Up. As music from the score plays, a floating house is seen on screen, before landing and showing Russell, Carl, and Dug inside as it is flying high above the clouds. This show is called TOGETHER: A Pixar Musical Adventure and is a thirty-minute show performed at the Studio Theater at Walt Disney Studios Park. It has been running since July 2023, but will be taking a break from 21st April to 11th July 2025. I presume this is due to the ongoing construction at Walt Disney Studios Park to turn it into Disney Adventure World. Also at Disneyland Paris, but in the main park, a new miniature scene of Paradise Falls with Carl, Russell and the house was added to the Storybook Land Canal Boats ride, or Le Pays des Contes de Fées in French. This new addition joined two other new scenes that were announced, of Frozen (2013) and Winnie the Pooh. This new Up scene replaced the Emerald City scene[19]. The new version of the ride reopened on 30th August 2024. There is also a small scene of Russell and Carl, where figures of them have been added to the waterside in Adventure Isle, over by Colonel Hathi’s Pizza Outpost, which is a bit random[20]!

In terms of meet-and-greets, at Walt Disney World in Disney’s Animal Kingdom Park, you can meet Russell at the Wilderness Explorer Clubhouse, and Dug – who even talks – is occasionally seen there with Russell. Talking Dug made his debut at the park in May 2024. Carl, Russell, and Dug have also been characters at Special Events, like DVC Moonlight Magic in recent years. At Disneyland, in Disney California Adventure Park, Russell and Dug met guests during Pixar Fest. Dug was talking here too. They have also been spotted at Pixar Pier as well, along with Carl. At Disneyland Paris, the three characters were there for “Tuesday Guest Star Day” but that was back in 2019. At Hong Kong Disneyland, the trio were spotted at the Pixar Pals Party cast-member exclusive event in March 2024. At Shanghai Disneyland, Russell and Dug have been known to meet guests at Happy Circle in Adventure Isle, and it is still listed on their website, however, I think these characters swap out fairly frequently. Outside of the US parks, it seems the Up characters are not as easy to meet, with Tokyo Disneyland seemingly never having had a meet-and-greet for them. But, at Tokyo Disneyland, you can find Carl, Russell, Dug, and Kevin all on a float during the Disney Harmony in Color daytime parade. Characters, clips, or music from Up may be used in other Disney fireworks shows and parades, both current and future.

Given that Up appeals to both children and adults, Up spanned quite a range of merchandise, including clothing, figurines, homeware, like pillows and mugs, toys, and even a Pandora charm of Carl of Ellie. There have also been specialty and non-speciality pins available to purchase, with D23 releasing a member-exclusive pin in May 2024 of young Carl holding the blue balloon to celebrate the 15th anniversary of Up.

Outside of the theme parks and the screen, Up became the perfect inspiration for housing projects. For example, in 2011, Bangerter Homes recreated the iconic Up house, reportedly with permission from Disney and Pixar, providing the plans were turned over to them once complete to ensure it was a one-of-a-kind property. It stands on Herriman Rose Boulevard in Herriman, Utah[21]. This is a private residence and is therefore not available for tours, so don’t go knocking on the door, hoping to get one.

However, this did not turn out to be the only Up house of its kind because in May 2024, as part of Airbnb’s “Icons” series of new rentable homes, they built a replica of the Up house too. It was created to celebrate the 15th anniversary of the film, and was even held up with 8,000 balloons – and the help of a large crane. It was situated in Abiquiu, New Mexico. It was only open to guests for a limited time and could not just be booked like other Airbnb properties. Although the house was suspended at times, funnily enough, that was not allowed to happen with guests inside[22]. The listing for the house is still up on Airbnb but it cannot be requested and is showing as “Sold Out”.

FINAL THOUGHTS

Up made history for Pixar in a few ways: by being nominated for Best Picture at the Academy Awards; being the 10th animated feature for the studio; and for creating one of the most well-known and heart-breaking sequences in cinema.

Pixar – and Disney – have a knack for finding that soft spot in your heart and jabbing at it until tears leak from your eyes. Up is not my favourite Pixar movie, and yet I still cry at multiple moments in the story. A movie about people, about relationships, about life can’t help but be relatable as we are all navigating the ups and downs of life, pushing past obstacles and getting through rough patches. Carl is having a difficult time as he grieves the loss of his wife, and Russell is struggling to cope with his parents’ divorce and his difficult relationship with his father. Both of these problems are things real people go through.

What we ought to learn from Up is that when life deals you a bad hand, you can either sink deeper and deeper into the darkness, or drag yourself up towards the light. In less metaphorical terms, what I’m trying to say is that it’s not good to dwell on the mistakes and misery of the past. All you can do is take a look around you, see what you have right now, and try and figure out a new direction. It might not be what you envisioned, but maybe it’s what you need.


REFERENCES

[1] Credit: Disney, ‘Disney History’, D23.com, date unknown.

[2] Credit: Tim Lammers, ’10 Uplifting Facts About Up to Celebrate Film’s 10th Anniversary’, D23.com, 29th May 2019.

[3] Credit: Pixar, “Canine Companions”, Up 2009 (Pixar) Making of & Behind the Scenes video, DVDFilmBonus, YouTube Channel, uploaded 16th July 2023.

[4] Credit: Tim Lammers, ’10 Uplifting Facts About Up to Celebrate Film’s 10th Anniversary’, D23.com, 29th May 2019.

[5] Credit: Pixar, “Adventure is Out There”, from Up (2009) DVD (2010).

[6] Credit: Pixar, “Homemakers of Pixar”, Up 2009 (Pixar) Making of & Behind the Scenes video, DVDFilmBonus, YouTube Channel, uploaded 16th July 2023.

[7] Credit: Stephen Barker & Jessica Smith, ‘The Real-Life Story Behind Pixar’s Up Is More Heartbreaking Than The Film’, ScreenRant.com, 15th March 2024.

[8] Credit: Pixar, “Balloons and Flight”, Up 2009 (Pixar) Making of & Behind the Scenes video, DVDFilmBonus, YouTube Channel, uploaded 16th July 2023.

[9] Credit: Pixar, “Geriatric Hero”, Up 2009 (Pixar) Making of & Behind the Scenes video, DVDFilmBonus, YouTube Channel, uploaded 16th July 2023.

[10] Credit: Pixar, “Russell: Wilderness Explorer”, Up 2009 (Pixar) Making of & Behind the Scenes video, DVDFilmBonus, YouTube Channel, uploaded 16th July 2023.

[11] Credit: Pixar, “Our Giant Flightless Friend Kevin”, Up 2009 (Pixar) Making of & Behind the Scenes video, DVDFilmBonus, YouTube Channel, uploaded 16th July 2023.

[12] Credit: Pixar, “Alternate Scene: The Many Endings of Muntz”, from Up (2009) DVD (2010).

[13] Credit: Pixar, “Married Life”, Up 2009 (Pixar) Making of & Behind the Scenes video, DVDFilmBonus, YouTube Channel, uploaded 16th July 2023.

[14] Credit: Xan Brooks, ‘Curtain will go Up on this year’s Cannes with 3-D yarn’, TheGuardian.com, 19th March 2009.

[15] Credit: IMDB, ‘Worldwide Box Office For 2009’, BoxOfficeMojo.com, date unknown.

[16] Credit: Tim Lammers, ’10 Uplifting Facts About Up to Celebrate Film’s 10th Anniversary’, D23.com, 29th May 2019.

[17] Credit: Pixar, “Dug’s Special Mission”, from Up (2009) DVD (2010).

[18] Credit: Best Western, ‘Can You Handle the Redwood Creek Challenge Trail?’, StovallsInn.com, 28th January 2018.

[19] Credit: Disney, ‘New Scene From Pixar’s “Up” Coming To Storybook Land, With Presenting Sponsor’, DisneylandParis-News.com, 3rd May 2024

[20] Credit: Steve, ‘Disneyland Paris News: Carl and Russell From UP Invade Adventureland’, DedicatedToDLP.com, 1st May 2014

[21] Credit: Taysha Murtaugh, ‘This Real-Life Re-Creation of the House From ‘Up’ Is Just as Cute as the Movie’, CountryLiving.com, 21st March 2017.

[22] Credit: Yi-Jin Yu, ‘Airbnb launches stays at ‘Up’ house, ‘Inside Out’ headquarters, and more ‘Icons’’, ABCNews.go.com, 2nd May 2024.

#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.