From ‘Toy Story’ to ‘Soul’: Pixar’s Shared Universe Theory

It’s almost obvious to say that Pixar Studios fans are already familiar with the universe theory shared among all of the company’s animations. Created by journalist Jon Negroni and published on his personal blog in 2013, the theory analyzes the different connections and Easter eggs between audiovisual works, denying their randomness and endorsing the idealistic capacity of a unique and incomparable microcosm. Interestingly, the studio itself has confirmed that there are narrative correlations between their films and they intend to expand them.

According to Negroni, the main point to make the theory credible is its tendency to naturalism. In other words, the idea is to have fun, to exercise your imagination while looking for some interesting connections between these fantastic masterpieces.

The universe began over 66 million years ago with “The Good Dinosaur”. In the feature film released in 2015, History was recreated and kept the dinosaurs from going extinct, quite the contrary: they stayed on Earth and began to develop a relationship with humans – eventually perishing because that they did not have the same adaptive capacities as the new breed. .

So humans couldn’t create enough fossil fuels to evolve, using some kind of human energy, channeled through emotions, to rule the planet (and the universe).

That’s when we entered “Valente” (2012). The animation, in fact, is the first and last to close the Pixar circle. As is pretty clear, the narrative itself delivers an atmosphere centered on medieval Scotland, seeking references to the 14th and 15th centuries for the emergence of Mérida, a girl who fights for constant freedom and who eventually finds out that “magic” can solve her problems – despite inadvertently turning her mother into a bear. We have also discovered that this inexplicable force is directly related to an unnamed witch who has the ability to control magic in an indescribable way – and here we are not only going to animals behaving with humans, but also objects. inanimate with individualistic characteristics, like the witch’s house broom, which also has the ability to vanish through wooden doors.

The constant evolution of this magic would therefore lead to the birth of superheroes – people with superhuman abilities, resulting from a genetic factor without scientific basis which caused a great mutation. This class of humans, seen in depth in “ The Incredibles ” (2004) and “ The Incredibles 2 ” (2018), kept order in the world until Buddy, a pseudo-hero , creates two things for its decadence: artificial intelligence called Omnidroid and high tech Zero Point Energy (electromagnetic energy existing in a vacuum). This is the main event from which we see the machines eradicate their enemies, and as the SPA spreads due to countless battles, other inanimate objects begin to absorb it and create its own life – like toys.

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The first signs of life for these toys come in “Toy Story” (1995). Such a “family” creates a code of rules and values ​​and finds love for humans to be another source of energy, starting to use it to survive and not fall into its rawest form. In the remainder of the franchise, we realized that the degree of evolution reached very high levels, since these objects discover that isolation is a fact of risk. The once inanimate toys are starting to question her purpose in life – Jesse, for example, resents her former owner, Emily, for abandoning her, cultivating a hatred disguised as sadness and regret, turning her into such a being. complex than humans. And this Darwinian pathology soon begins to spread not only to things, but also to animals.

In ‘Finding Nemo’ (2003) and ‘Finding Dory’ (2016) it is possible to see that in the ocean, sea creatures are extremely advanced: they have schools, a navigation system and even communication. We’ve also found that humans are polluting the planet and performing experiments on fish and other animals, possibly indicating that this is the cause of Dory’s oversight – and we can’t fail to mention only the signs. resentments persist and grow, making animals more curious and more charged. with human characteristics. “Ratatouille” (2007) comes as an analysis of the human world in fusion with the animal. Rémy, the protagonist of the tale, is passionate about cooking and is painted by anthropomorphic characteristics, such as walking on two legs, washing hands, reading and creating.

It is in this trait that we see the first real interaction between man and animal, but with the aim of subjugating this one. Remy controls Linguini because he can’t do anything in culinary terms, while the Rodent Clan doesn’t approve of any of his types in the world of those who kill them. In ‘Toy Story 3’ (2010) we get the perspective of toys again, showing that they have already lived little and well with humans. If you have watched the movies, you can understand how tired, physically and psychologically abused they are by their “owners”.

Lotso is the third indication that the troubled experience between the oppressor and the oppressed has its days numbered. Through an incredible evolution that even impacted the maturity of the characters, hatred against humans has become the primary backdrop for the future of the planet. The “Caring Bear” is revealed to be an upside down antagonist in the tale, when he begins to show special care for his race, to protect and keep them safe, even though he has become a tyrant. megalomaniac (kept more tenuous in ‘Toy Story 4’). It also allows us to better understand the reason for the progressive conquest of machines and objects over humans. Andy is then warned to get rid of his toys, following the inventive ideals of a couple who plan to live in solitude during the looming battle – Carl and Ellie, from “Up – High Adventures” (2009).

Carl is forced to sell his house to a company called BnL (Buy-and-Large), which is expanding the city. This foreshadows a future technological race which culminates in both overpopulation and in the exacerbated pollution of ecosystems. However, the focus here is on the little man who discovers that animals can communicate with humans, sharing their bitterness. Charles Muntz, the villain of the film, is able to successfully translate these feelings through electronic collars, in addition to forming an army of dogs, a milestone in the battle between animals and humans. Years later, war breaks out – and the machines end up winning it for its creators, altering the Earth’s balance, even accidentally. To restore balance, BnL sent the remaining human race into space inside a ship called Axiom; all the rest of the machinery has been kept to repopulate the world and control things.

It was then that we entered the era of “cars” (2006, 2011 and 2017). At this time – which, according to the Pixar timeline, takes place between the years 2100 and 2200 – it is clear that there is no one anywhere in the world, and that this time the global crisis is due to the that oil is used as the sole source of energy for machines. The Allinol company (hereinafter “Cars 2”) used renewable sources as a catalyst for an alternative fuel. However, as we are well aware, such a substance was used to sweep cars across the world. With the exacerbated use of oil, pollution of the planet has become inevitable and, therefore, hopelessly unsuitable for the preservation of natural life.

The Earth became uninhabitable for several centuries because of the BnL. Such a company has been in charge of large multinational companies since the 1950s. ‘Wall-E’ (2008) appears to be the only “survivor” after the scarcity of resources, and could only continue to function by being fascinated by the culture. human, in addition to having an unconventional relationship with a cockroach – which maintains his personality and personal development. In addition, all existing machines at Axiom have been shown to be able to develop a sense of purpose outside of dependence on humans. Wall-E is the personification of Adam, and he and his romantic partner, aptly named Eva, save the human race by making the planet a good place for a fresh start.

As is known, the only natural source of life was contained in a worn boot. The last plant to survive the environmental disaster is the first to be cultivated by man; due to the high radiation it becomes a gigantic tree, housing the adorable characters seen in “Insect Life” (1998). In the mid-31st century, still following the futuristic timeline, the ants developed genetic mutations that allowed them to live much longer, and in this new era the remaining animals need not worry about the presence. frightening of humans and eventually become the dominant species. In other words, the radiation not only affects the sense of community of these species, but allows them to enter an evolutionary cycle culminating in their peak of development as monsters.

In “Monsters University” (2013), we know that this new race accidentally swept humans off the face of the Earth. The educational complex was founded in 1313, but this date is based on a monster and non-human calendar, which leads us to believe that such events occurred almost 1400 years after “Insect Life”. Inside the facility, the characters mistakenly learn that the ancient inhabitants of the planet were poisonous and from another dimension, leading them to believe that they could be extinct if they encountered a threat from this. level. However, it is only in “Monstros SA” (2001) that the dominant species realizes its mistake: humans are responsible for the main source of energy. Therefore, using the remaining machines and raw magic from the incredible immortal tree, they can use wooden doors to travel through time – more precisely, to previous generations.

In the meantime, we have crossed paths with “Amusingly”. The theory uses this gap in the doors to explain Bing Bong, Riley’s supposed imaginary friend, who was actually a monster who visited her when she was a child and who developed an extremely strong relationship with the girl (explaining his emotional memory). The same happens with “Viva – A Vida É a Festa”, whose main theme is also memory and remembrance of ancestors.

And it all culminates in the key point of the Pixar timeline: Boo.

Little Boo – the little girl in the pink dress who terrified and enchanted the lives of monsters in the 2001 film – never got over her guardian Sulley and became obsessed with what had happened to her. She remembered that the gates were the materialized symbols to find him, and when she grew up she discovered how to use time travel – using wooden portals – to return to the main source of all magic. (the same discovery by Merida in “ Brave ”). Boo leaves evidence in the Scottish narrative: two sculptures on tree trunks: one depicts Sulley and the other a pizza truck – two of the things she loved the most in life. And although he has enough wisdom to manipulate this cosmic force, he cannot determine when it will end. Therefore, it is assumed that the Easter eggs present in each of the animations are caused by the constant search for her best friend’s daughter, accidentally jumping from season to season until she manages to find him.

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