let it be known that if a third Inside Out feature gets made and it’s revealed that franchise heroine Riley andersen’s (kensington Tallman) anxiety has gotten worse, pointing the blame at her messed-up dream world is going to be expected, if not required. In fact, Dream Productions might be the first Disney-produced title to establish as canon that Hollywood studio culture is an ouroboros of dysfunction that originates from a toxic mini studio existing in all of our heads.
Pixar’s Dream Productions is a bridging mockumentary miniseries set between the events of Inside Out and Inside Out 2. Developed alongside the recent sequel,this series benefits from the animators getting full access to these updated characters and environments to make a really attractive streaming series that doesn’t look like it was made on the cheap. Unfolding like a side mission in the overall story of Riley’s young life,Dream Productions gives audiences a little more time with her as she’s growing up and trying to figure it all out.However, as a concept, its overall thesis that our dreams are produced by a brain-based “studio” that’s just as capricious and soul-crushingly focused on results as the real Hollywood is too meta for most kids to understand. Worse, it goes too far afield from the franchise’s mandate that Riley’s Emotions are always her biggest cheerleaders.
In these four episodes,Riley is 12,so she’s at the precipice of teendom which brings with it outsized embarrassments,social confusion,and burgeoning hormones. Joy (Amy Poehler) and the rest of the film’s Core Emotions (all voiced by the recent film cast) appear in each installment as observers of this story’s central character, riley’s longtime, prosperous dream director Paula Persimmon (Paula Pell).Looking similar to a purple Minion, Paula and her team of creative blobs—we’re never really told what these things are—make mind movies that hopefully have real impact on riley’s conscious decisions.Best case: She gets inspired upon waking. Worst case: She’s so disturbed by the content that she jerks awake or slips into a nightmare.
While Paula has been a superstar creator throughout Riley’s childhood, these tween years are vexing her output. Slipping into hack territory, she keeps mining once successful chestnuts of the past, like Riley’s beloved Lisa Frank-esque Rainbow Unicorn toy, to create dreams that are falling flat. Her duds open the door for new voices,like paula’s younger and hipper assistant director,Janelle (Ally Maki),or Head of Studio Jean Dewberry’s (Maya Rudolph) nephew,Xeni (Richard Ayoade),an avant-garde daydream director.
The project functions as a mini arc that charts Paula’s panicked pursuit of new approaches and ideas to inspire riley’s dreams to speak to who she is today.And that,in turn,will let her keep her job at the studio. Chock full of jokes, both visual and scripted, about the ridiculous challenges of making a movie, the most media-savvy kids should be able to follow along. But there is a lot of inside-baseball material here that feels almost too tailored to those who work in the business, as if this is an expensive joke made for Pixar staffers.
Emotionally, Paula lacks the kindness and Riley-centric focus that Joy has with her mission.And while you certainly don’t need characters that are rubber-stamp copies of the feature ones,Paula is often a tough pill to galvanize around.She’s pretty mercenary in her actions to suppress Janelle’s ambitions and blatantly steals from Xeni to keep her position secure.It’s enough that one has to ask: Is creative backstabbing really the spine upon which a Pixar animated series should be built upon? Is the morass of outsized egos and examples of pointed one-upmanship a fun playground for younger viewers? Of course, there are expected lessons to be learned by all the characters in the final episode. But the outcome isn’t robust enough to justify allowing the selfish ecosystem of Hollywood to get in the way of the much purer idea of aging up Riley’s dreams to be a place were she can escape to problem solve or work through emotions plaguing her.
That said, there are a couple of really well-executed musical numbers that elicit the exhilaration of a truly memorable dream. Also, the show’s construct of how a dream translates into Riley’s awareness—the camera is Riley—gets points for originality. The more comedic dreams (there’s an ’80s-inspired, David-Lynch-meets-The-Cure one, as well as a crush-focused sequence that unfolds like a Canadian rom-com) land nicely too. Character-wise,Ayoade’s signature style of line reading mixed with Xeni’s design and eccentric look make him a standout amongst a rather tepid ensemble that never reaches the success of the Core Emotions’ chemistry.
On the whole,Dream Productions is a fun idea that gets a bit derailed by its Hollywood setting and mockumentary format. And the meta playground of a studio backlot devolves too much into the negative with personal politicking and self-serving career ambitions. The Riley of it all is supposed to be the whole point of this wing of her subconscious. But that often gets subsumed when the series veers into a tame version of Robert Altman’s The Player.
Dream Productions premieres December 11 on Disney+
how does Dr. Emily Carter view the representation of mental health in Pixar’s upcoming miniseries *Dream Productions*?
Interview between Time.news Editor and Dream Psychology Expert dr. Emily Carter
Time.news Editor: Welcome, Dr. Carter! It’s great to have you here today to discuss Pixar’s upcoming miniseries Dream Productions. The concept of a “brain-based studio” as a metaphor for our subconscious sounds intriguing. What are your initial thoughts on how this portrayal might resonate with audiences, especially younger viewers?
Dr. Emily Carter: Thank you for having me! I think Dream Productions is an innovative take on how we understand not just our dreams, but the way our brain processes experiences and emotions. However, I do foresee challenges with younger audiences grasping the metaphorical layers of studio culture and its relation to mental health, especially considering the complex nature of anxiety depicted through Riley’s character.
Time.news Editor: Right, and speaking of anxiety, the article suggests that Riley’s increasing struggles may be linked to this “toxic mini studio” representing the pressures of her dream world. How do you interpret this idea from a psychological perspective?
Dr. Emily Carter: It’s a fascinating depiction of how internal pressures can manifest as external narratives in our lives. Anxiety in adolescents can frequently enough feel like a relentless cycle, akin to a studio producing content under tight deadlines. The idea that her brain is working overtime, influenced by real-life pressures, echoes the experiences of many teenagers today—trying to juggle social expectations, academic pressures, and personal identity issues.
Time.news Editor: That makes sense.The article also mentions that the series retains a lighthearted tone with the presence of Joy and the other core emotions. Do you think this balance between serious themes and humor is effective in addressing such complex issues?
Dr. Emily Carter: Absolutely. humor can serve as a coping mechanism, and Pixar has always excelled at blending humor with deeper emotional insights.Joy, as a character, represents hope and resilience, and having her alongside the other emotions can definitely help convey the message that it’s perfectly normal to have a range of feelings. It might seem meta, but it can actually provide a comforting narrative for kids navigating their feelings.
Time.news Editor: Fascinating point. As Riley goes through this phase of growing up—with all its inherent challenges—how crucial is representation of mental health in media for children and teens?
Dr. Emily Carter: Astonishing. Accurate representation can considerably influence how young viewers perceive their own feelings and experiences. When kids see characters like Riley facing similar challenges, it can help de-stigmatize mental health conversations. It opens the door for discussions and enables them to know they’re not alone in their struggles.
Time.news Editor: Without a doubt.Lastly, what advice would you give to parents who want to engage with their children about the themes presented in Dream Productions?
Dr. emily Carter: I’d recommend having open conversations after watching the series. Ask questions about how Riley’s experiences resonate with their own emotions. Encourage them to express their feelings and validate their experiences. the discussions can serve as a springboard for deeper understanding and emotional literacy, which is vital during the formative teenage years.
Time.news Editor: Thank you, Dr. Carter. This has been a thought-provoking discussion. I look forward to seeing how Dream Productions unfolds and its impact on audiences.
Dr. Emily Carter: Thank you! I’m excited as well. It’s a unique opportunity to explore and normalize emotional experiences in such a creative way.