In the world of animation, few names carry as much emotional weight and cultural clout as Pixar. For nearly three decades, the studio has managed to turn the simplest concepts into compelling cinematic experiences. From a world of sentient toys to rats who can cook, Pixar has made audiences laugh, cry, and reflect, often within the same scene.
Its films have inspired theme park rides, merchandise, and countless memories for fans of all ages. But in recent years, there’s been a noticeable shift.
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While Pixar once set the gold standard for animated storytelling, some fans are beginning to question whether the studio has lost its way.
The latest film from the iconic animation studio, Elio, has sparked yet another round of concern among fans who once flocked to theaters for every Pixar release. The story of a socially awkward young boy who is mistaken for Earth’s ambassador by an alien race, Elio seemed like it had all the ingredients for a classic Pixar hit.
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But according to fans, something just doesn’t feel right anymore. And it’s not just Elio – there’s a growing sentiment that Pixar’s storytelling style has changed in a way that alienates the audience it once connected with so effortlessly.
“Why does no one care about Elio?”
Pixar used to be “what if toys had feelings?” or “what if rats cooked?” Now it’s “what if a socially awkward 13-year-old had trauma?” It’s like they forgot the assignment.
“Why does no one care about Elio?”
Pixar used to be “what if toys had feelings?” or “what if rats cooked?” Now it’s “what if a socially awkward 13-year-old had trauma?” It’s like they forgot the assignment.
— Disney Glimpses (@disneyglimpses) June 21, 2025
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The studio’s impressive legacy began with the 1995 game-changer Toy Story, the first fully computer-animated feature film. That film, and the three sequels that followed, cemented Pixar as a powerhouse. For years, they turned out hit after hit: Monsters, Inc. (2001), Finding Nemo (2003), The Incredibles (2004), Cars (2006), Up (2009), Inside Out (2015), Coco (2017) – all beloved not just for their innovation but for their heart.
But around the time the COVID-19 pandemic upended the entertainment industry, Pixar’s trajectory began to shift.
Pixar’s box office woes seem to support these concerns. The 2020 film Soul, 2021’s Luca, and 2022’s Turning Red were all released directly to Disney+, bypassing theaters altogether. When the studio finally returned to cinemas with Lightyear (2022), the results were disastrous.
The Chris Evans-led spinoff not only failed to connect with audiences, but reportedly lost Disney over $100 million.
To be fair, not every recent release has flopped. Inside Out 2, released in 2024, became the second-highest-grossing animated movie of all time and was widely praised by both fans and critics. But even a massive success like Inside Out 2 hasn’t been enough to shake off the perception that Pixar has become inconsistent.
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Commenters online have been vocal about what they think is going wrong. One of the most common complaints? That Pixar has moved away from storytelling that sparks wonder and escapism.
Yeah, Lasseter leaving changed things, but it’s not rocket science. Stop chasing coming-of-age metaphors and just make weird stuff talk again. Give a spatula anxiety or something.
Maybe they’re trying to be “relatable” now. But kids don’t crave their own reality—they crave escape. They don’t want to process trauma. Let the story come first. Stop forcing this stuff!
Maybe they’re trying to be “relatable” now. But kids don’t crave their own reality—they crave escape. They don’t want to process trauma. Let the story come first. Stop forcing this stuff!
— Disney Glimpses (@disneyglimpses) June 21, 2025
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That same sentiment is echoed by viewers who feel recent Pixar stories are too serious, too message-driven. They long for the magic of old Pixar movies that could blend deep emotion with humor and fantasy.
Even the titles of recent films have drawn criticism.
I’d like to point out another, lesser issue. The titles have become nondescript. “Luca” could have been Miguel’s grandmother’s name. “Elio” could have been the Italian sea monster kid. “Coco” could have been the alien abductee. By the titles, these movies sound interchangeable.
Some fans also feel that Pixar has shifted from showing character growth to simply telling audiences how characters feel, reducing the emotional impact.
Psychological development should the result of action. I’ve seen too many films where the main character is only talking about family acceptance while the world in the background is exploding. Up was a very emotional movie but no one was talking about traumas, it’s all action.
While Elio hasn’t hit theaters yet, early buzz suggests it may struggle to find an audience. For Pixar, which once seemed untouchable, it’s a troubling trend. And although Inside Out 2 gave the studio a much-needed win, fans are wondering if that was the exception rather than the new rule.
Unfortunately for Pixar, even films praised by critics and audiences have failed to perform. 2023’s Elemental was loved by fans for the story it told, but a lot of those fans waited until it hit Disney+, and the movie had a very weak box office performance. It was then that we were warned that if fans continue to stay home, those kinds of original films will not be made anymore.
Despite the challenges, Pixar isn’t backing down. The studio has five upcoming films in the pipeline, including three sequels – Toy Story 5 (2026), Incredibles 3 (TBA), and Coco 2 (TBA). Release dates for the latter two have not yet been announced. Pixar also plans to debut two original stories: Hoppers (2026) and Gatto (2027).
Do you think that Pixar has gotten away from the storytelling that made it one of the most successful studios in the world? Does it need to change the kinds of films it makes? Or do fans need to show more support and not wait for the movies to premiere on Disney+? Share your thoughts with us in the comments!
Went to see ELIO again another movie I wasted money on, even my 2 grandchildren 9 and 4 asked when we could leave… wow that should speak volume.
Lasseter kept the Pixar ship on its creatively profitable course. It’s not rocket science as the quote says yet fee in the Disney organization can seem to do it. Disney has replaced so much talented intuition in their organization with “the data” from marketing driven data mining they’ve removed anyone from the organization that had talent for making entertainment that their target audience wants to see and enjoy. Jon Favreau after Ironman wS shuffled off MCU projects but left them the oytlinr and olan for the first 3 phases of the MCU movies. Disney followed the plan until Endgame. Then things started going off the rails with the MCU. He’s been producing The Mandalorian and niw that’s done, look to see him get shuffled off. Iger would be smart in letting him take over for Kennedy, but I don’t see Iger being that smart.
The Pixar problem is really a Disney problem overall. Don’t expect any real fixes anytime soon.