Pixar has long been a household name, synonymous with animated magic and emotional storytelling. For decades, the studio could do no wrong. With groundbreaking films that asked quirky questions like “What if toys came to life?” or “What if a house attached to balloons floated across the world?” Pixar mastered the art of captivating both children and adults alike. Yet lately, something has shifted.
Despite the legacy and brand recognition, some fans believe that Pixar has lost its storytelling spark—and they aren’t shy about saying why.
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The studio’s latest offering, Elio, tells the story of a young boy abducted by aliens who mistakenly believe he is Earth’s representative in a cosmic organization. While the concept seems imaginative, early reactions suggest audiences aren’t connecting with it the way they once did with Pixar’s previous hits.
In fact, many longtime fans are openly questioning the direction Pixar has taken in recent years.
“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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One of the earliest signs of Pixar’s shifting trajectory came just before the COVID-19 pandemic, when the studio released Onward (2020). With theaters shutting down, the film was sent to Disney+ almost immediately. That move began a trend: Soul (2020), Luca (2021), and Turning Red (2022) were all released exclusively on the streaming platform, never seeing a theatrical debut.
This strategy backfired when Lightyear (2022) hit theaters. The highly anticipated film failed to resonate and resulted in a financial disaster for Disney, with over $100 million reportedly lost. Fans criticized the film for lacking the charm and originality that once defined Pixar.
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Still, not all hope was lost. Inside Out 2, released in 2024, defied the trend. It became the second-highest-grossing animated film ever, celebrated for its emotional storytelling and inventive world-building. But even that success wasn’t enough to erase the studio’s recent stumbles.
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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It’s not just the storytelling that fans are criticizing. There’s growing dissatisfaction with how Pixar titles its films. Longtime viewers say the names of new movies are too generic, making them forgettable or interchangeable.
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.
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This feeling of sameness extends to the storytelling approach. According to critics, recent Pixar films rely more on dialogue to express character emotions rather than letting actions speak, which some believe dilutes 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.
Looking at box office performance alone, Pixar’s reputation has taken a noticeable hit. Films like Elemental (2023) were praised by critics and adored by fans, yet struggled in theaters. Many viewers opted to wait for a Disney+ release, a behavior pattern that could threaten the future of original storytelling if it continues.
Just look at all of their golden era films. Yes, exceptions exist, but for the most part, the model is the same. And they have completely abandoned it.
Despite this, Pixar isn’t giving up on new ideas. In addition to sequels like Toy Story 5 (coming in 2026), Incredibles 3 (TBA), and Coco 2 (TBA), the studio is working on two original stories: Hoppers (2026) and Gatto (2027). These upcoming releases may be Pixar’s opportunity to reconnect with their core audience.
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!
I think these people just prove how dumb audiences are now.