It’s hard to fathom that nearly a decade has passed since Pixar’s acclaimed film *Coco* captivated audiences with its original storytelling and vibrant music. This enchanting animated movie, which tells the story of a Mexican boy who ventures into the Land of the Dead, grossed nearly $800 million globally, securing its place as the 11th top-grossing film of 2017. At that time, few could have predicted the significant downturn in the demand for original animated films that would soon follow.
The recent release of *Elio* during the June 20-22 weekend marked a new low for Pixar, as it debuted to a modest $20.8 million domestically and $14 million internationally. This opening is notably the weakest for the renowned animation studio, co-founded by the late Steve Jobs and later acquired by Disney. Despite the disheartening numbers, Disney executives are publicly optimistic, suggesting that *Elio* has the potential to rebound, similar to how *Elemental* managed to gross nearly $500 million globally after a slow start.
Critics and audiences have praised *Elio*, highlighting stellar exit scores and strong reviews. However, insiders within Pixar are aware of the reality; projections indicate that *Elio* might struggle to reach even $300 million in total box office earnings. Yet, this does not signal the end for Disney and Pixar’s commitment to original storytelling. Rather, sources indicate that *Elio* represents a shift that was already underway at Pixar.
In light of the challenges posed by *Elio*, Pixar appears to be recalibrating its strategy, focusing on a more balanced blend of sequels and original intellectual properties (IP). Disney leadership, including movie studios chief Alan Bergman, is advocating for a strategic resurgence of franchise films as a means to support original storytelling in the long run. They view new IP not as one-time ventures but as potential franchises, similar to the success of *Inside Out* and *Coco*.
Looking ahead, Pixar has an exciting lineup that includes the original film *Hoppers* and *Toy Story 5*, both scheduled for release in 2026, along with *Gatto* in June 2027. Additionally, sequels for *Incredibles 3* and *Coco 2* are in the pipeline. Out of Pixar’s 30 theatrical releases, only 9 have been sequels, and one, *Lightyear*, is a prequel. This statistic underscores Pixar's cautious approach to franchise development.
While Pixar has traditionally been hesitant to churn out sequels, other animation studios have embraced a franchise-focused model. For instance, Illumination Entertainment, known for the lucrative *Despicable Me* and *Minions* series, has quickly expanded franchises from films like *Sing* and *The Secret Life of Pets*. Similarly, DreamWorks Animation has capitalized on established franchises like *Shrek* and *Kung Fu Panda* to achieve box office success.
During the pandemic, a significant shift occurred when Disney made the controversial decision to release three Pixar titles—*Turning Red*, *Luca*, and *Soul*—exclusively on Disney+, bypassing theaters. This decision drew criticism for potentially conditioning families to delay viewing animated films in theaters. Despite this, *Encanto*, *Elemental*, and *Elio* are among the few original animated films to open above $20 million domestically in the post-pandemic era.
While PG-rated films have significantly contributed to the box office recovery post-COVID, success often hinges on established intellectual properties or franchises. The animated feature *Elio* has faced challenges in connecting with a broad audience, primarily due to its appeal to younger viewers. Analysts suggest that its lack of a nostalgic advantage, combined with competition from established properties like *How to Train Your Dragon* and *Lilo & Stitch*, has hindered its performance.
Despite its underwhelming opening, industry insiders remain hopeful for *Elio*, emphasizing its ambitious narrative and creative spirit. As Pixar navigates the evolving landscape of animation, it appears committed to retaining its focus on originality while balancing beloved franchises. Ultimately, the goal remains to tell timeless stories that resonate with audiences across generations.
