In the last couple weeks, Pixar Animation Studios has unveiled—or had Walt Disney Company CEO Robert Iger do so—a few hints as to the future of its continuing franchises. (This, of course, because even Pixar has proven unable, ever since Toy Story 2 opened in 1999, to end any of its stories definitively, from Toy Story to Finding Nemo and onward.) Earlier in the month, it was revealed that there would be a new short from the world of Cars featuring most of the original characters, including Lightning McQueen and Mater; last weekend, the newest Muppet movie, Muppets Most Wanted, had a Monsters University short attached to its release; and the biggest news of all came last: sometime in the near future, there will be a third Cars film and a second Incredibles film.
The gravitational pull of the endless Star Wars franchise is inescapable in modern cinema. Though there have only been six live-action films in the series, the vast ocean of toys, theme-park attractions, animated TV series, books, and more make it impossible to avoid, even before there were rumors of a new trilogy. After the Walt Disney Company purchased Lucasfilm in the fall of 2012, the rumors became truth: within just a few years (now under 2 years), a new trilogy of Star Wars films would be unveiled, following up on the events of Return of the Jedi. Since that time, it’s been assumed that Disney wouldn’t just make new live-action films in that galaxy far, far away. Why not make more animated films, or spin-off series, and so on? For now, at least, these are rumors.
Nine months after this article kickstarted the Pixar Perspective column, it’s worth taking stock of the calendar year 2013. (With just three weeks left before we start 2014, it is, of course, possible that there may be more news on the horizon, but doubtful.) In that first editorial, the topic was the now-common choice among writers to pit Pixar Animation Studios against Walt Disney Animation Studios, only a few weeks after Brave won the Best Animated Feature Oscar over the apparent underdog, Wreck-It Ralph. A similar inter-company battle may occur once again, as Frozen and Monsters University are assumed to be among this year’s top challengers for the prize, along with another film being distributed under the Disney banner, Hayao Miyazaki’s The Wind Rises. And unlike even Wreck-It Ralph, Frozen has performed extremely well to this point; it’s too early to know for sure, but it could easily wind up as the highest-grossing feature in the Disney animated canon since The Lion King. Never mind, of course, that Monsters University, despite not being as widely embraced by critics, made nearly three-quarters of a billion dollars worldwide. For yet another year, Disney has “beaten” Pixar, in some people’s minds.
A fairly common trend over the last few years has been a growing frustration among some people at the idea that the Christmas season is beginning earlier and earlier. Holiday music starts playing well before Thanksgiving, decorations go up near the beginning of November, and so on. In the world of film, the closest parallel is that of awards season (or the ever-expanding length of the summer movie season). There was a time when the Oscars were presented near the end of March. These days, it seems more likely that the Oscars ceremony might soon come near the beginning of February or beforehand. That, of course, has a ripple effect: every other awards body announces its victors before the Oscars, with some organizations starting, this year, as early as two weeks from now. But even the Oscars are jumping the gun, at least in terms of announcing some features and shorts that have made it onto their shortlists and longlists. Those lists include potential nominees for Best Animated Feature and Best Animated Short. For Pixar, there’s good and bad news within those lists.
Planes is not a Pixar movie, but it badly wants to be. More to the point, the Walt Disney Company wants you to think that Planes is from Pixar. Though the Pixar Animation Studios logo does not appear in the film—and it shouldn’t, because the movie was animated by the people at DisneyToon Studios, even if the short film that inspired Planes was created by those at Pixar’s Canadian studio—there are more than enough hallmarks of Pixar’s work present within that could fool you. The first thing on screen after the Walt Disney Pictures logo is the moniker “World of Cars,” with the last word designed a la the title cards for Cars and Cars 2. John Lasseter, the head of Pixar Animation Studios, Disney’s Chief Creative Officer, and the man who’s almost singlehandedly spearheaded the Cars movement to the point where it has its own land in a theme park, co-wrote the story for Planes and is its executive producer. To cap it all off, John Ratzenberger, long known as Pixar’s good-luck charm, makes a cameo appearance. (No, he doesn’t voice the Mack truck from Cars, but a different character, even though cars exist in the world of Planes. Try not to think about it too much.)
The magic word in Disney Infinity is customizability, as the platform allows players to build their own worlds using a variety of Disney and Pixar franchises as inspiration. The ability to build comes in its Toy Box Mode, where characters from different worlds, such as Dash from The Incredibles and Mike from Monsters University can interact. While there will be a large number of options included in the game at start, power discs that unlock additional options will be sold at retailers. After the break, find a full gallery of the power discs that make up the first wave, along with descriptions of the power each of them will unlock!
The Internet is rife with theories that have to deliberately skew or ignore certain facts, or else these arguments would knowingly fall apart. No topic is free from such needless conjecture, including the films from Pixar Animation Studios. The backlash borne from the last few films Pixar has made—up to and including their newest, Monsters University—has spawned a number of editorials and a few dreaded not-a-word “thinkpieces” trying to get to the bottom of the problem. The question at the root of the “problem,” of course, is one that can’t be answered on a grand scale, but must be given some texture: “Why are Pixar’s films not as amazing as they used to be?” Of course, this argument could be more accurately phrased as, “Why doesn’t Pixar make movies I, the writer of this editorial, like anymore?” And it’s important to be vigilant, watching for the flaws inherent in these articles.