I don't know how on Earth the folks at Pixar worked up a script and pre-production and animation and recording and marketing to time the release of their hyper-aggressive, gender-queer rallying-statement movie, "Inside Out", to Bruce/Kaitlyn Jenner's revelation and the destruction of the traditional nuclear family by the recent Supreme Court decision, but, you know, kudos to them on their sorcery to drop this bomb at the worst possible moment, when it will have the greatest effect in support of their bizarre vision of a genderless world where reality means nothing.
First of all, Pixar originally made me think of pixels, since, after all, it's a computer-animation company. Hell, it's THE computer-animation company. But apparently that was a misdirect the entire time, because really, Pixar-> Pixie ->
"michievous"->devious->devil->Satan, so Pixar->Satan.
Before the tra(n)vest(ite)y even starts, we, the audience, get subjected to "Lava", a digital short, which on its surface seems to be a perfectly innocuous little music video about a lonely, hopeful volcano finding love with another lonely, hopeful volcanoette.
But...
Really, "Lava" is a preparatory juxtaposition of what's about to follow in the main feature. In "Lava", inferred "traditional" gender roles and sexual desires are parodied to the point of absurdity, being embraced to such a degree that they are therefore rather more repulsive than laudatory.
As mentioned, it is set to the length of a song, so it is a music video, for all intents and purposes. The song is also called"Lava"
As a reader will note within moments, it's a shameless rip-off of
Yup, "Over the Rainbow" by Israel Kamakawiwo'ole. Rainbow...what a wonderful world...I KNOW WHAT YOU'RE TRYING TO SAY HERE, YOU GODLESS HEATHENS!!
Anyways, as stated, this is a deeply, creepy "traditional" fairy tale about an ugly fat guy who is a massive carbon polluter in the middle of beautiful nowhere/nature, who dreams that, instead of doing anything to actively find love, it'll simply show up at his door. The fat damn slob! It all works out when he's a bald, toothless old mess and a hot teenager shows up. She's beautiful and slender. They end up arm in arm, belching fumes into an innocent planet. Jabba the Hut gets Pocahontas!
Except I'm fairly certain that he only imagines them being together in his dying moments underneath the surface (because his carbon pollution raised the oceans, of course...MESSAGE!), because inert volcanoes that have worn down don't suddenly take a lava viagra and sprout again to their full "majesty" (side note: if there is lava viagra that spouts them to their full majesty, does it have to turn him right back into a fat slob volcano? Couldn't he be a Ryan Reynolds/Chris Pratt volcano afterwards?). But, again, it's all there in the title: "Lava" is like love, but not quite.
That's the first five minutes: A deeply disturbing "love" story of a old, disgusting, fat man getting his hot, young, teen girl for all eternity. Or until their mutual carbon pollution kills the planet.
Then we get the Genderqueer main feature. It's so straightforward, I don't really see how anyone can argue with me on this one, but, sure. I mean, its goal of subversion is right there in the title; it's here to turn everything INSIDE OUT!
What's it about? It is about the gender identity struggle of a preteen on the cusp of puberty. It's about destroying traditional values by being about the interplay of "rainbow" colors. Our protagonist, whomever he/she may be is "Riley" (a casual joke about how his/her feelings/identity are in a state of flux/"riled up").
Riley is a Tomboy. Riley's hair is gender neutral. It's not short, but it's not long. Riley never wears girls' clothes. Nary a dress is seen on her during the "present" of the movie nor its myriad flashbacks. Riley's body is pre-pubescent and stick-figure-esque. Riley is never seen doing girl things. No, Riley Loves Hockey. The story of the movie is her being forced to leave the closet of her protected/univestigated identity (Minnesota) and her struggling with wanting to go back in into that same closet.
The main conceit of the movie is that each soul on earth (even animals!) have five anthropomorphic emotions that rule them in their brain. The colorful emotions are Joy (yellow and glowing!), Sadness (Blue), Anger (Red), Fear (light purple), and Disgust (green) For literally everyone else in the movie, these anthropomorphized emotions are gender-specific to their gender (all female for female characters and all male for male characters). Riley's emotions are the only ones that are clearly masculine and feminine.
While there are the five emotions to a person, each emotional group each has a core leader. Riley's leader is clearly Joy! But, in an indictment of the old way of gender thinking/stereotypes (and marriage...), her Dad's is Anger
and her Mom's is Sadness.
Message: the new generations are run correctly, by happiness, and not by Anger and Sadness!
So, I mentioned earlier that Minnesota represents the safe cocoon of her prepubescent closet. Where is the gnarly, brave new world? Why San Francisco, home of bizarre sexual/gender choices, of course! This confused boy/girl moves to the Acceptance Capital. Whoa, what a coincidence!
I'll spare the exhausting details, but the journey her emotions take (joy and sadness, that is) is that they have to escape the dump (vagina) and return to the tower/control room (phallus). She must literally embrace masculine and feminine sides (her mom and dad) in order to push through and become her new genderqueer self, where, instead of having specific emotions, they're all now fused and mixed! Being transgender is good better best!
And if all that didn't persuade you, Sadness is a chubby, awkward lesbian.
First of all, Pixar originally made me think of pixels, since, after all, it's a computer-animation company. Hell, it's THE computer-animation company. But apparently that was a misdirect the entire time, because really, Pixar-> Pixie ->
"michievous"->devious->devil->Satan, so Pixar->Satan.
Before the tra(n)vest(ite)y even starts, we, the audience, get subjected to "Lava", a digital short, which on its surface seems to be a perfectly innocuous little music video about a lonely, hopeful volcano finding love with another lonely, hopeful volcanoette.
But...
Really, "Lava" is a preparatory juxtaposition of what's about to follow in the main feature. In "Lava", inferred "traditional" gender roles and sexual desires are parodied to the point of absurdity, being embraced to such a degree that they are therefore rather more repulsive than laudatory.
As mentioned, it is set to the length of a song, so it is a music video, for all intents and purposes. The song is also called"Lava"
As a reader will note within moments, it's a shameless rip-off of
Yup, "Over the Rainbow" by Israel Kamakawiwo'ole. Rainbow...what a wonderful world...I KNOW WHAT YOU'RE TRYING TO SAY HERE, YOU GODLESS HEATHENS!!
Anyways, as stated, this is a deeply, creepy "traditional" fairy tale about an ugly fat guy who is a massive carbon polluter in the middle of beautiful nowhere/nature, who dreams that, instead of doing anything to actively find love, it'll simply show up at his door. The fat damn slob! It all works out when he's a bald, toothless old mess and a hot teenager shows up. She's beautiful and slender. They end up arm in arm, belching fumes into an innocent planet. Jabba the Hut gets Pocahontas!
Except I'm fairly certain that he only imagines them being together in his dying moments underneath the surface (because his carbon pollution raised the oceans, of course...MESSAGE!), because inert volcanoes that have worn down don't suddenly take a lava viagra and sprout again to their full "majesty" (side note: if there is lava viagra that spouts them to their full majesty, does it have to turn him right back into a fat slob volcano? Couldn't he be a Ryan Reynolds/Chris Pratt volcano afterwards?). But, again, it's all there in the title: "Lava" is like love, but not quite.
That's the first five minutes: A deeply disturbing "love" story of a old, disgusting, fat man getting his hot, young, teen girl for all eternity. Or until their mutual carbon pollution kills the planet.
Then we get the Genderqueer main feature. It's so straightforward, I don't really see how anyone can argue with me on this one, but, sure. I mean, its goal of subversion is right there in the title; it's here to turn everything INSIDE OUT!
What's it about? It is about the gender identity struggle of a preteen on the cusp of puberty. It's about destroying traditional values by being about the interplay of "rainbow" colors. Our protagonist, whomever he/she may be is "Riley" (a casual joke about how his/her feelings/identity are in a state of flux/"riled up").
Riley is a Tomboy. Riley's hair is gender neutral. It's not short, but it's not long. Riley never wears girls' clothes. Nary a dress is seen on her during the "present" of the movie nor its myriad flashbacks. Riley's body is pre-pubescent and stick-figure-esque. Riley is never seen doing girl things. No, Riley Loves Hockey. The story of the movie is her being forced to leave the closet of her protected/univestigated identity (Minnesota) and her struggling with wanting to go back in into that same closet.
The main conceit of the movie is that each soul on earth (even animals!) have five anthropomorphic emotions that rule them in their brain. The colorful emotions are Joy (yellow and glowing!), Sadness (Blue), Anger (Red), Fear (light purple), and Disgust (green) For literally everyone else in the movie, these anthropomorphized emotions are gender-specific to their gender (all female for female characters and all male for male characters). Riley's emotions are the only ones that are clearly masculine and feminine.
While there are the five emotions to a person, each emotional group each has a core leader. Riley's leader is clearly Joy! But, in an indictment of the old way of gender thinking/stereotypes (and marriage...), her Dad's is Anger
So, I mentioned earlier that Minnesota represents the safe cocoon of her prepubescent closet. Where is the gnarly, brave new world? Why San Francisco, home of bizarre sexual/gender choices, of course! This confused boy/girl moves to the Acceptance Capital. Whoa, what a coincidence!
I'll spare the exhausting details, but the journey her emotions take (joy and sadness, that is) is that they have to escape the dump (vagina) and return to the tower/control room (phallus). She must literally embrace masculine and feminine sides (her mom and dad) in order to push through and become her new genderqueer self, where, instead of having specific emotions, they're all now fused and mixed! Being transgender is good better best!
And if all that didn't persuade you, Sadness is a chubby, awkward lesbian.
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