'Elio' had to cut an LGBT plot because Pete Docter felt like it

Pixar faces a monumental setback with the release of its latest film, Elio, which, despite a budget of 150 million dollars, managed to gross only 154 million worldwide, becoming the studio’s biggest box office failure, excluding those produced exclusively for Disney+. This meager result has sparked an intense debate about the creative decisions that have led the film to this point. Gay characters? They don’t exist! One of the most controversial decisions was the removal of a subplot about the protagonist’s sexual identity, a fact that has been corroborated by […]

Pixar faces a monumental setback with the release of its latest film, Elio, which, despite a budget of 150 million dollars, managed to gross only 154 million worldwide, becoming the studio’s biggest box office failure, excluding those produced exclusively for Disney+.

This meager result has sparked an intense debate about the creative decisions that have led the film to this point.

Gay characters? They don’t exist!

One of the most controversial decisions was the removal of a subplot about the protagonist’s sexual identity, a fact that has been corroborated by Pixar director Pete Docter.

According to his statements, the studio wanted to avoid exposing younger viewers to topics that, in their opinion, they were not ready to face. Instead, Docter considered that addressing issues like death was perfectly acceptable.

Audience testing indicated that the bolder parts of ‘Elio’ did not resonate well with the public, leading Pixar to modify the original narrative. Despite the decision to cut these scenes, the studio remains confident in its future, with projects like Toy Story 5 and Hoppers.

Docter seems to shield himself with the belief that Pixar can face the controversy created by Elio without it affecting its reputation, while waiting for better times at the box office.

The criticism of Elio is not only focused on its financial performance but also on the creative decisions that have limited its narrative. There is still doubt about whether the film would have been successful if the director’s initial vision had been maintained.

However, both critics and experts agree that this is a critical moment for the studio, which will need to reevaluate its approach to inclusion and representation in future projects.

Author: Jesús Bosque

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