Pixar in the 2020s
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In this episode of Alternate Ending, hosts Tim Brayton, Zev Burroughs, and Cameron Shaw dive into the current state of Pixar Animation Studios, examining its evolution from a golden age of innovation to a perceived era of creative stagnation. The discussion is prompted by the release of Hoppers, Pixar's latest film, which offers a glimmer of hope amid a string of underwhelming releases including Elio, Elemental, and Lightyear. The panel reflects on the studio's trajectory, questioning whether the decline stems from corporate homogenization after Disney's acquisition in 2006, the rise of sequel dependency, or the loss of time and artistic freedom needed to develop ideas. They contrast Pixar’s early masterpieces—like WALL-E, Ratatouille, and Inside Out—with more recent films that feel rushed, overly commercialized, or stylistically unappealing, particularly noting the shift toward a generic 'bean mouth' animation style. The conversation also touches on the emotional and psychological depth of earlier films versus the more formulaic storytelling of recent entries, with special attention to the problematic portrayal of childhood anxiety in Inside Out 2. Despite the critique, the hosts express cautious optimism, especially for Hoppers, which they describe as a bold, surreal departure that recalls the anarchic spirit of classic animation. The episode closes with reflections on the broader challenges facing original storytelling in modern cinema, especially under the pressure of streaming and franchise economics. Key takeaways include: Pixar’s creative decline may stem from a loss of time and artistic autonomy; the studio’s recent films often feel like unfinished ideas or 'index cards' rather than fully realized stories; the rise of sequel-driven, IP-heavy filmmaking has diminished risk-taking; and Hoppers, while not perfect, signals a potential return to bold, imaginative storytelling. The hosts agree that while Pixar is no longer the singular creative force it once was, it still holds the capacity to surprise and inspire.
Pixar’s creative decline began in the 2010s with Brave and The Good Dinosaur, marking a shift from organic storytelling to stitched-together narratives.
The studio’s increasing reliance on sequels and franchises reflects pressure to deliver guaranteed box office returns in a streaming-dominated era.
Recent films like Inside Out 2 and Elio suffer from rushed development, with ideas that feel undercooked and emotionally inconsistent.
The 'bean mouth' animation style has become a visual shorthand for Pixar’s current aesthetic, signaling a departure from the expressive character animation of earlier films.
Hoppers offers a rare spark of originality and surreal energy, suggesting Pixar may still have the capacity for reinvention.
…and 3 more takeaways available in PodZeus
Introducing the Topic: Pixar in the 2020s
The hosts begin the episode with their usual movie roundtable, discussing recent films including Agnes Varda’s La Pointe de Corte, Return to Oz, and Devil’s Island. These films serve as cultural touchstones that frame the central theme: the changing landscape of animation and storytelling. The conversation transitions into the main topic—Pixar’s current state—prompted by the release of Hoppers and the broader context of Disney’s dominance in animation.
The Golden Age and Its End
“It's almost like a band in the 60s that assembles enough material for their first two albums or so, and they really refine this material over the course of their early gigs.”
The Rise of Sequel-itis and Creative Stagnation
“It feels like a student film. Specifically, I'm thinking about the thesis film that I made or I shot in grad school where we had this idea... and at a certain point, we just had to say, this is how it ends.”
The Problem of 'Unfinished' Films
“Turning Red is basically three consecutive stories to me... it's not dissimilar from like when you are making a short film in film school and you have a great idea and don't know how to end it.”
The Animation and Aesthetic Shift
The discussion turns to the visual language of modern Pixar, with hosts criticizing the rise of the 'bean mouth' animation style—round faces, chubby cheeks, and stiff expressions—as a sign of creative decline. They contrast this with the expressive character animation of earlier films and argue that even technically strong films like Inside Out 2 feel emotionally flat.
“It just, it kind of becomes, it would be sacrilegious of me to say that this becomes a Chuck Jones cartoon in the second half. But... it reminds me more of that than any Pixar film released in the 2020s.”
“It feels like a student film. Specifically, I'm thinking about the thesis film that I made or I shot in grad school where we had this idea... and at a certain point, we just had to say, this is how it ends.”
“It's almost like a band in the 60s that assembles enough material for their first two albums or so, and they really refine this material over the course of their early gigs.”
Host
Guests
Pixar Animation Studios
organization
Tim Brayton
person
Zev Burroughs
person
Cameron Shaw
person
Disney
organization
Hoppers
media
Inside Out 2
media
Elio
media
WALL-E
media
Soul
media
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