logo
Pixar staff reportedly 'deeply saddened' LGBTQ elements were cut from studio's latest film, 'Elio'

Pixar staff reportedly 'deeply saddened' LGBTQ elements were cut from studio's latest film, 'Elio'

Fox News02-07-2025
Multiple Pixar employees are reportedly very unhappy with the theatrical cut of Pixar's latest film, "Elio."
According to The Hollywood Reporter (THR), staff at the beloved animated film studio, which is owned by Disney, are upset that LGBTQ elements of the film were removed before its final theatrical release.
"It was pretty clear through the production of the first version of the film that [studio leaders] were constantly sanding down these moments in the film that alluded to Elio's sexuality of being queer," an anonymous artist who worked on the film told the outlet.
Several Pixar staff members revealed to the outlet that "Elio" – the latest Pixar offering about a boy who is mistakenly beamed up from earth to interact with an intergalactic body of alien races – was heavily edited to be less overtly LGBTQ.
"According to multiple insiders who spoke to The Hollywood Reporter, Elio was initially portrayed as a queer-coded character, reflecting original director Adrian Molina's identity as an openly gay filmmaker," the piece stated.
After Molina screened his cut of the film for Pixar leadership, the director exited the project. Rumors circulated that his post-screening conversation with Pixar COO Peter Docter "hurt" him. Molina was replaced by co-directors Madeline Sharafian and Domee Shi.
Elements cut from the film were said to include Elio performing in his own makeshift fashion show, his love for environmentalism, as well as scenes suggesting he had a crush on another boy.
As the outlet noted, "this characterization gradually faded away throughout the production process as Elio became more masculine following feedback from leadership."
Despite these changes, the movie became the worst box office bomb in Pixar's history, earning only $20.8 million domestically during its opening weekend. The movie cost over $200 million to make and had been delayed for about a year, after it was initially slated for release in March 2024.
Sarah Ligatich, a member of Pixar's internal LGTBQ group PixPRIDE, told The Hollywood Reporter that she was "deeply saddened and aggrieved by the changes that were made."
She added that there was an "exodus of talent" after staff saw Sharafian and Domee's cut of the film, noting that the exit was "really indicative of how unhappy a lot of people were that they had changed and destroyed this beautiful work."
The anonymous artist characterized the changes to the film, telling THR, "Suddenly, you remove this big, key piece, which is all about identity, and Elio just becomes about totally nothing. The Elio that is in theaters right now is far worse than Adrian's best version of the original."
Reports of "Elio" having its LGBTQ themes sanded down follow Pixar courting controversy for LGBTQ themes in its other films. Pixar's 2022 film "Lightyear" featured a same-sex kiss that was reportedly removed and then reinstated for the film's theatrical version.
Pixar's 2020 film "Onward" features a female cyclops character who mentions her girlfriend at one point in the film.
The anonymous Pixar artist called out company executives for the cuts to "Elio," saying, "I'd love to ask Pete and the other Disney executives whether they thought the rewrite was worth it. Would they have lost this much money if they simply let Adrian [Molina] tell his story?"
Docter, Pixar and Disney did not immediately reply to Fox News Digital's requests for comment.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

‘Avatar: Fire & Ash' Trailer Leaks Online: James Cameron Returns With Fiery Stunner
‘Avatar: Fire & Ash' Trailer Leaks Online: James Cameron Returns With Fiery Stunner

Yahoo

time16 hours ago

  • Yahoo

‘Avatar: Fire & Ash' Trailer Leaks Online: James Cameron Returns With Fiery Stunner

The action-packed first trailer for James Cameron's next Avatar fantasy epic has leaked online — and the footage looks spectacular. Disney is rolling out the trailer for Avatar: Fire & Ash 'exclusively' in theaters in front of Fantastic Four: First Steps. And just like with Christopher Nolan's 'only in theaters' trailer for The Odyssey early this month, grainy unauthorized copies have begun to circulate. But give some credit to Disney here — the Fire & Ash trailer is, at least, a bit tougher to find than the trailer Nolan's Universal film was, with copies being taken down as fast as they pop up. More from The Hollywood Reporter Billie Eilish Reveals 3D Collaboration With James Cameron Is in the Works James Cameron to Write Movie Based on Joe Abercrombie Novel 'The Devils' After Finishing 'Avatar: Fire and Ash' Les Dilley, 'Star Wars,' 'Raiders of the Lost Ark' Art Director, Dies at 84 Needless to say, fan reaction has been effusive. Fan site The Sietch of Sci-Fi said the trailer 'looks incredible.' Another raved that the trailer was 'some of the most beautiful footage I've seen all year [and I was] struck by the real sense of doom and rage — fist fights inside of cosmic volcanoes, heroes terrified, huge aerial battles.' While another entertainment writer wrote, '[The trailer] started out as 'meh, more of the same' and ended with 'yup, another billion to James Cameron.'' And a film critic wrote: 'The visuals are (somehow) on another level. There is no doubt in my mind that this WILL be the biggest movie of 2025, and 'epic' doesn't feel like it does this trailer justice.' The trailer introduces two new tribes, the Wind Traders and the fire-hurling Ash People clan. The footage shows (trailer spoilers here — if that's a thing) plenty of intense arial fighting between Jake Sully (Sam Worthington) and his Na'vi family, the Ash People clan and, of course, Colonel Miles Quaritch (Stephen Lang, now sporting dramatic white, black and red warpaint, suggesting he might have made an alliance with the Ash People). At one point, a captive Kiri (Sigourney Weaver) is warned by a new villain, Varang (Oona Chaplin), 'Your goddess has no dominion here.' Sully — who warns, 'we cannot live like this' — is taken captive and paraded by the occupation forces. And Spider (Jack Champion) seems like he's in jeopardy quite a bit. The first Avatar, released in 2009, became the highest-grossing film of all time, raking in $2.9 billion globally. The first sequel, 2022's The Way of Water, charted as the third-highest-grossing movie of all time (with $2.3 billion), beating expectations and silencing doubters that the Oscar winner could pull off another Avatar blockbuster. At this point, few doubt Cameron's ability to generate massive box office returns with the Avatar franchise and confidence is high that Fire & Ash will deliver when its released as a major holiday tentpole on Dec. 19. While a run time hasn't yet been announced, Cameron has teased that Fire and Ash 'will be a bit longer' than The Way of Water. The last film was three hours and 12 minutes. 'In a nutshell, we had too many great ideas packed into act one of [Way of Water],' Cameron recently said. 'The [film] was moving like a bullet train, and we weren't drilling down enough on character. So I said, 'Guys, we've got to split it.' [Fire & Ash] will actually be a little bit longer than [Way of Water].' Cameron plans five Avatar films and has said he intends to direct them all, as well. Much of the footage, Cameron has said, has already been shot. Avatar 4 is set for Dec. 21, 2029, and Avatar 5 will arrive Dec. 19, 2031. Cameron also hopes to adapt the Charles Pellegrino books Ghosts of Hiroshima and Last Train From Hiroshima as soon as his Avatar schedule permits. The film would focus on the true story of a Japanese man during World War II who survived the atomic blast at Hiroshima as well as the explosion in Nagasaki. If it comes to fruition, it would mark Cameron's first non-Avatar film since 1997's Titanic. Fire & Ash cast members include Zoe Saldaña, Sigourney Weaver, Britain Dalton, Jack Champion, Trinity Jo-Li Bliss, Stephen Lang, Giovanni Ribisi, Edie Falco, Brendan Cowell, Matt Gerald, Kate Winslet, Cliff Curtis, Bailey Bass, Jemaine Clement and David Thewlis. The official description of Fire and Ash: 'Jake and Neytiri's family grapples with grief after Neteyam's death, encountering a new, aggressive Na'vi tribe, the Ash People, who are led by the fiery Varang, as the conflict on Pandora escalates and a new moral focus emerges.' Disney had no comment on the leak. Best of The Hollywood Reporter The 40 Greatest Needle Drops in Film History The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best Solve the daily Crossword

‘South Park' creators reveal battle with network over wild Trump depiction, joke they're ‘terribly sorry'
‘South Park' creators reveal battle with network over wild Trump depiction, joke they're ‘terribly sorry'

New York Post

time19 hours ago

  • New York Post

‘South Park' creators reveal battle with network over wild Trump depiction, joke they're ‘terribly sorry'

'South Park' creators Trey Parker and Matt Stone discussed their controversial season 27 premiere at San Diego Comic-Con on Thursday, revealing a behind-the-scenes battle with network executives over airing a less-than-flattering depiction of President Donald Trump's penis during Wednesday's episode. The duo behind the long-running Comedy Central series spoke alongside a panel of other adult cartoon creators at the event, including 'Beavis and Butt-Head' creator, Mike Judge, and 'Digman!' co-creator, Andy Samberg. When asked if they had been following the reaction to their season 27 premiere by the panel's moderator, Josh Horowitz, Parker jokingly replied, 'We're terribly sorry.' As reported by The Hollywood Reporter, that's about as far as the creators went in responding to the controversy stirred by the episode, although Stone did address Trump more directly later in the discussion when the duo were asked about how they originally met. 'For me and Trey, we met over 'Monty Python,'' he said. 'In this day, when PBS is getting their funding cut, that's how I found 'Monty Python.'' Stone's comments on PBS come on the heels of a congressional vote last week to cut funding for public broadcasting. Trump signed the $9 billion spending cuts package into law on Thursday. 'South Park' creators Trey Parker and Matt Stone revealed they went toe-to-toe with network executives before airing their controversial season 27 premiere at San Diego Comic-Con. Getty Images According to Parker, the show's team finalized the season's premiere episode just shortly before it aired. 'Just three days ago, we were going, 'I don't know if people are going to like this,'' Parker said, adding that the duo were reading news headlines and said to each other, 'Let's put that in there.' Horowitz questioned the 'South Park' creators about whether there were any concerns about the season premiere from higher-ups at Comedy Central, with Parker detailing a discussion with the network about showing Trump's penis on the show. The creators of the long-running Comedy Central series detailed how the executives wanted Trump's penis blurred, as the duo told them, 'No, you're not gonna blur the penis.' REUTERS 'They were like, 'We're gonna blur the penis,' and we're like, 'No, you're not gonna blur the penis,'' Parker responded, adding that the show's team agreed to add eyes to the depiction of the president's penis to make it a character. The White House, however, did not seem thrilled about the season 27 premiere of 'South Park.' White House Assistant Press Secretary Taylor Rogers issued a statement regarding Wednesday's episode to Fox News Digital on Thursday. 'The Left's hypocrisy truly has no end — for years, they have come after South Park for what they labeled as 'offense' [sic] content, but suddenly they are praising the show,' Rogers stated. 'Just like the creators of South Park, the Left has no authentic or original content, which is why their popularity continues to hit record lows. This show hasn't been relevant for over 20 years and is hanging on by a thread with uninspired ideas in a desperate attempt for attention. President Trump has delivered on more promises in just six months than any other president in our country's history — and no fourth-rate show can derail President Trump's hot streak.'

Sorry, 'First Steps,' But No Fantastic Four Movie Has Lived Up to 'The Incredibles'
Sorry, 'First Steps,' But No Fantastic Four Movie Has Lived Up to 'The Incredibles'

Time​ Magazine

timea day ago

  • Time​ Magazine

Sorry, 'First Steps,' But No Fantastic Four Movie Has Lived Up to 'The Incredibles'

The critical consensus on The Fantastic Four: First Steps is that, finally, they made a good Fantastic Four movie. The previous attempts to bring Marvel's First Family to the big screen—a low-budget unreleased Roger Corman movie, a pair of middling films in the '00s, and Josh Trank's universally panned 2015 movie—were all failures, and while First Steps isn't by any means perfect, it's the closest thing we've gotten to a great Fantastic Four movie. Except, that's not really the case, because there was an incredible Fantastic Four movie just over 20 years ago. It just wasn't technically a Fantastic Four movie. The argument that Pixar's 2004 masterpiece The Incredibles is not-so-secretly a Fantastic Four film is hardly a new one, though it seems especially relevant in the wake of the original foursome making a high-profile, high-stakes, and warmly received (or at least warmly enough) entrance into the Marvel Cinematic Universe. The similarities between the Incredibles and the Fantastic Four are obvious; both are families of four people who all have superpowers, including one person with the ability to stretch, another who can turn invisible and make forcefields, and a big strong guy. It's not a one-to-one match; Fantastic Four have the Human Torch while The Incredibles' Dash has superspeed. The relations are different, too, as The Incredibles focuses on two parents and their two kids while the Fantastic Four consist of a husband, his wife, his brother-in-law, and his best friend. Brad Bird, who wrote and directed the Pixar film, didn't set out to explicitly make a movie about the Fantastic Four with the serial numbers filed off, and indeed The Incredibles is much more than just that. The Fantastic Four, one of the most famous superhero teams around, are an obvious influence, and there are shades of the X-Men, James Bond-esque spy antics, and Alan Moore's seminal comic Watchmen. (Bird claims he hadn't read Watchmen prior to penning The Incredibles, making it a coincidence that both plots involve superheroes in hiding after the government outlaws vigilantism.) To call The Incredibles a knock-off of any specific superhero story rather than a broad homage is to do the Oscar-winning movie a disservice, especially considering it came out four years before the start of the Marvel Cinematic Universe and the truly modern era of superhero cinema as it exists today. Still, it's the Fantastic Four who seem like the most natural point of comparison to the Incredibles. The makers of the 2005 Fantastic Four movie certainly thought so; there were reports that they had to reshoot the ending of the live-action movie because they worried the cartoon had already outdone them. First Steps almost seems like it's copying The Incredibles; the movie is set in its own corner of the MCU's multiverse on a retro-futuristic world that very much resembles the stylish mid-century modern vibes of The Incredibles. Composer Michael Giacchino provided the music to both films, and in an interview Giacchino admitted that it was a challenge for him to differentiate the two scores. The Incredibles is the secret benchmark that Fantastic Four films need to try to live up to, and it's an incredibly high one. Certainly in the conversation for the title of "Pixar's best film," The Incredibles is a rollicking superhero adventure that also digs deeply into familial dynamics, touching on fears of infidelity, the way marriages change, and the way kids fight with their parents (and each other). Mr. Incredible (Craig T. Nelson) misses the thrill of crime-fighting so he goes behind his wife Elastigirl's back and accepts a moonlighting superhero gig. But when his employer, Syndrome (Jason Lee), reveals himself to be a spurned would-be sidekick who now wants to make it so no one is super (except him, of course), Elastigirl (Holly Hunter) and their kids Violet (Sarah Vowell) and Dash (Spencer Fox) must come to his rescue—and get the whole costumed family doing good together. The Incredibles is a remarkably standalone story. All of its influences are just that, influences, rather than homework. You basically just need to know that superhero fiction exists and have the vaguest awareness of the core tropes to enjoy The Incredibles, and even then you'd probably be fine going in with a blank slate. Compare that to The Fantastic Four: First Steps, which is going to great lengths to attempt to be a standalone story. Despite being the 37th movie in the Marvel Cinematic Universe—a franchise that is clearly straining under the weight of its own continuity—First Steps takes place in an alternate reality. There are no shared characters, previous plot developments to be aware of, or even any Easter eggs connecting First Steps to the main MCU, and even though the foursome will eventually join the rest of the Avengers in Doomsday, out next year, the film ends without any multiversal voyages. Instead, we meet Reed Richards, Sue Storm, Ben Grimm, and Johnny Storm (Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, and Joseph Quinn) four years after they got their superpowers and watch them save the planet (and Reed and Sue's newborn son) from a powerful planet-eater known as Galactus. It's a grander plot than The Incredibles and it's executed more sloppily, but the focus is clearly intended to be on this family rather than a larger cinematic universe. And yet the looming specter of a continuity and questions about how the Fantastic Four fit into the MCU loom over First Steps. Even more oppressive is the sense that, for as much as First Steps tries in its aesthetic and with its marketing to tell audiences that it's a breezy, new kind of superhero movie, First Steps is sweaty. Fantastic Four needed to be good and do really well at the box office to help the MCU recover after an ongoing fallow period in the wake of Avengers: Endgame. It's a crucial pivot for the biggest franchise in the world, a superhero movie that's all-but explicitly tasked with reversing superhero fatigue. Meanwhile, The Incredibles is a breath of fresh air; a superhero movie made before costumed crime-fighters reached total cinematic and cultural saturation. (It helps that The Incredibles was made by Pixar during the studio's golden era that saw some of its best creative output. Marvel Studios, meanwhile, is tired and on the backfoot.) To mix superhero metaphors, the kryptonite of The Fantastic Four: First Steps is that it's following in another movie's footsteps. First Steps is a fine enough movie that's under a lot of pressure and scrutiny; The Incredibles is an unburdened masterpiece with similar characters, a similar look, some similar themes, and a similar score. Maybe that's OK, though—another similarity they have is that they're both owned by Disney. You'll be able to watch either of them on Disney+ soon enough.

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