logo
What Pixar Should Learn From Its Elio Disaster

What Pixar Should Learn From Its Elio Disaster

Yahoo16-07-2025
The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here.
Early last year, Pixar appeared to be on the brink of an existential crisis. The coronavirus pandemic had thrown the business of kids' movies into particular turmoil: Many theatrical features were pushed to streaming, and their success on those platforms left studios wondering whether the appeal of at-home convenience would be impossible to reverse. Disney, Pixar's parent company, premiered the Pixar films Soul, Luca, and Turning Red on Disney+, and each was well received. But they were followed by the theatrically released expected smash Lightyear—a spin-off of the beloved Toy Story franchise—which underwhelmed at the box office. Elemental followed, weathering a low-grossing opening to become a sleeper hit. Discussing the studio's next film, Inside Out 2, the company's chief creative officer, Pete Docter, acknowledged the concerns: 'If this doesn't do well at the theater, I think it just means we're going to have to think even more radically about how we run our business.'
He had nothing to worry about: Inside Out 2 was a financial sensation—by far the biggest hit of 2024. Yet here we are, one year later, and the question is bubbling back up: Is Pixar cooked? Its latest film, Elio, made only $20.8 million in its first weekend; the performance marked a record low for the company. (The number is smaller than what the first Toy Story earned 30 years ago.) In the weeks since its mid-June debut, Elio hasn't shown the strong box-office 'legs' that bolstered Elemental or proved that it has the earlier movie's major international appeal. It instead seems likely to earn less than $100 million domestically, based on its current performance. It would be the first Pixar movie not to clear that bar, pandemic releases aside. The debut of the studio's newest film used to be a seismic theatrical event, whether it was a sequel or an original story; the Pixar imprimatur was enough. The company has made icons out of a curmudgeonly old man, a garbage-compacting robot, and a rat obsessed with French cuisine. But its status as an instant star-maker seems to have dimmed; name recognition alone is no longer carrying the day.
Elio hit theaters after a tumultuous creative process that saw the director, Adrian Molina, leaving the project and the script getting reworked. The film follows a quirky, outer-space-obsessed preteen who, after the death of his parents, dreams of being abducted by aliens. This goal comes to fruition, leading him on a bunch of wacky adventures with an assemblage of blobby cosmic creatures. While the science-fiction angle was always present, reports suggested that other elements were lost over time: Elio (voiced by Yonas Kibreab) was initially supposed to be more 'queer-coded,' according to The Hollywood Reporter, to reflect Molina's own identity. Elio's mother was still alive, to be voiced by America Ferrera. The character's parents were written out in the reworked script, and Elio's disaffection became primarily rooted in loneliness rather than any sense of feeling 'different.'
[Read: What the success of Inside Out 2 means for Hollywood]
These creative shifts arose after an initial test screening reportedly ended with zero participants saying they'd want to see it in theaters. The changes didn't leave Elio unwatchable. It's a perfectly serviceable and cute diversion for kids, busy with playfully designed aliens; it's got some laser-blasting action that could appeal to preteens too. The protagonist does, however, come across as a little purposeless. The loss of Elio's parents is barely explained; his relationship with his aunt, Olga (Zoe Saldaña), is pleasant but lightweight. Elio's journey just doesn't have enough motivation to convince the audience that it's worth undertaking: After joining the extraterrestrials, he does little but bounce from quest to quest, pretending to be a high-ranking ambassador from Earth. Writing human characters has never been Pixar's forte, unless they're very cartoonish, and Elio suffers from that weakness.
The studio has a rich history of introducing intense creative revisions in the middle of making a film. The original director of Ratatouille left the project, and the veteran hand Brad Bird took over; the end result was an artistic high point for Pixar. Brave was set to be the studio's first movie with both a female protagonist and a female director, Brenda Chapman; Pixar then removed Chapman midway through production, and the final film was a muddled effort. Still, the company's relative success with on-the-fly changes might have convinced higher-ups that Elio could be salvaged.
Or maybe Docter, who is also one of Pixar's most successful filmmakers, saw Elio's box-office potential as a minor consideration after the sensation that was Inside Out 2. The company now has three more giant sequels on the horizon: Toy Story 5, Incredibles 3, and Coco 2, the last co-directed by Molina. Despite returning to its familiar franchises, the company isn't giving up on original storytelling. Several projects not based on preexisting properties are in the works; each one is animal-centric, a more typical mode for Pixar. But the fact that Elio underwent such extensive tweaks does suggest internal trepidation—and that Pixar could be shying away from more novel, personal works in favor of safer material.
[Read: Pixar's talking blobs are becoming more and more unsatisfying]
Elio's failure to resonate with audiences likely won't help matters. Would the movie have ever worked, however? I somehow doubt it. Pixar movies tend to thrive on the basis of their worlds; the galactic landscape—which emerged unscathed from all the tweaking—felt far too thinly sketched to me, even setting aside the low-stakes adventure taking place within it. Then again, my favorite Pixar film in recent years shares more in common with Elio than with Inside Out. Turning Red is a relatively grounded coming-of-age piece about a teenage girl. (She later turns into a giant red panda.) The director of Turning Red, Domee Shi, was brought in to salvage Elio after Molina stepped aside. But the latter film's rudderlessness emphasizes how crucial Shi's intimate connection to Turning Red was in making it so special—just as Molina's personal touch could have helped Elio feel more purposeful.
The executives at Disney are likely pleased with the seeming priority shift. Big sequels and tales about cute animals tend to be an easy bet, as evidenced by Disney's own animated-movie track record. Pixar won't get by forever reheating its leftovers, though: It needs to foster filmmakers with specific points of view, such as Shi, to become the creative bedrock of its next generation. So much of the animation world is tilting toward adapting recognizable brands over inventive storytelling, with rivals such as Illumination finding success with Super Mario Bros.; Warner Bros. is threatening audiences with a ghastly looking update of The Cat in the Hat. Pixar has long stood out by bringing something less trifling to theatergoing families. Elio's failure in theaters may sting, but hopefully it won't entirely deter that mission.
Article originally published at The Atlantic
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

While LILO & STITCH Hit $1 Billion, NE ZHA 2 Is the Real Box Office King of 2025 and Hollywood Should Pay Attention — GeekTyrant
While LILO & STITCH Hit $1 Billion, NE ZHA 2 Is the Real Box Office King of 2025 and Hollywood Should Pay Attention — GeekTyrant

Geek Tyrant

time28 minutes ago

  • Geek Tyrant

While LILO & STITCH Hit $1 Billion, NE ZHA 2 Is the Real Box Office King of 2025 and Hollywood Should Pay Attention — GeekTyrant

As you may have heard, Disney's live-action Lilo & Stitch movie just joined the billion-dollar club, making it the first Motion Picture Association release of 2025 to hit that milestone. It's a major win for Disney, especially after a rough year of costly misfires. But, while Stitch is soaking up the spotlight, the truth is this film wasn't first across the line. That honor belongs to Ne Zha 2 , a Chinese animated sequel that didn't just cross $1 billion, it obliterated records and now sits at more than $2.2 billion, almost entirely from China alone. This didn't happen overnight. The first Ne Zha was a cultural phenomenon in 2019, earning over $726 million worldwide and becoming the second highest-grossing non-English language film ever, behind The Battle at Lake Changjin 's $902 million. Its domestic run was even more impressive: $719 million in China, breaking the record for the biggest animated hit in a single market, a record previously held by Incredibles 2 in North America with $608 million. That set the stage for a sequel with sky-high expectations, and Ne Zha 2 it crushed them. Released on January 29, 2025, during Chinese New Year, the film broke records instantly. It pulled in over 700 million yuan (about $96 million) on opening day, then became the fastest film in Chinese history to pass the 10 billion yuan ($1.38 billion) mark, doing so in just seven days. Today, Ne Zha 2 has earned an astonishing 15.44 billion yuan, or roughly $2.13 billion, making it the highest-grossing movie ever in a single country. For perspective, that's more than double what Star Wars: The Force Awakens made in North America. Globally, it's now the fifth highest-grossing movie of all time, topping Avengers: Infinity War and Star Wars: The Force Awakens and sitting behind only Titanic , Avatar: The Way of Water, Endgame , and Avatar . It's also the only non-American, non-English language film in that elite top ten. In the animation space, its dominance is even clearer. With $2.215 billion worldwide, Ne Zha 2 is now the highest-grossing animated film in history, far surpassing Disney's previous record holder, The Lion King (2019), at $1.66 billion. That's a $550 million gap, bigger than the total global gross of many Hollywood animated hits. What makes Ne Zha 2 's success even more striking is its profitability. Reportedly made for around $80 million, the movie pulled off an incredible 27-to-1 return on investment. Compare that to Avengers: Endgame , which made $2.79 billion on a $356 million budget, which is a ratio of less than 8-to-1. Meanwhile, Hollywood continues pumping out $200 million blockbusters like The Fantastic Four: First Steps and Superman that need $700 million just to break even. If Ne Zha 2 had stopped at $500 million, it still would have been a huge financial success. This is the real wake-up call: blockbuster filmmaking doesn't have to mean runaway budgets. Ne Zha 2 proves that audiences care more about story and cultural resonance than inflated VFX costs and endless reshoots. Ne Zha 2 had a budget of $80 million, which is far less than what Disney and Pixar spend on their animated films. Another lesson here is global market dynamics. China used to be Hollywood's safety net, the market that pushed tentpoles past the billion-dollar mark. Now, Chinese audiences are pouring money into homegrown stories that reflect their culture. Hollywood's old strategy of adding token representation and hoping for an easy box office boost is outdated. If studios want to win back international audiences, they need real cross-cultural storytelling and a smarter approach to budgets. For Disney, Lilo & Stitch 's billion-dollar run is a huge relief after a brutal year of failures. Marvel's Captain America: Brave New World ($415 million) and Thunderbolts ($381.9 million) underperformed, Snow White tanked at $205 million against a massive budget, and Pixar's Elio couldn't crack $150 million worldwide. Those losses make Stitch's success a rare bright spot in an otherwise bleak financial picture. Disney and the rest of Hollywood can't keep playing the same game. They need tighter budgets, stronger storytelling, and projects that can thrive beyond the U.S. market without relying on brand nostalgia. Lilo & Stitch is still in theaters, while the English-language dub of Ne Zha 2 hits U.S. theaters on August 22. Considering the global momentum, its reign is far from over.

‘Tron: Ares' is set to storm Comic-Con and more of what to expect on Day 2
‘Tron: Ares' is set to storm Comic-Con and more of what to expect on Day 2

San Francisco Chronicle​

timean hour ago

  • San Francisco Chronicle​

‘Tron: Ares' is set to storm Comic-Con and more of what to expect on Day 2

SAN DIEGO, Calif. (AP) — Comic-Con is about to reenter the Grid. Disney will unveil details about 'Tron: Ares,' which stars Jared Leto, Jeff Bridges and Greta Lee at an evening presentation in Comic-Con's famed Hall H. It will be the third feature film in the 'Tron' franchise that kicked off with the hit 1982 film and had a 2010 sequel, 'Tron: Legacy.' The original starred Bridges as a computer hacker who gets trapped in a digital world. The other major presentations planned for Friday include updates on the final season of 'Outlander' and its prequel series 'Outlander: Blood of My Blood,' 'Alien: Earth' and 'Predator: Badlands.' An estimated 135,000 people from around the globe are expected to attend Comic-Con 2025, which runs through Sunday in downtown San Diego.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store