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Surprised this isn't up yet. 

 

I liked the movie, but there were so many mixed emotions  :wacko:

 

...

 

;)

 

I really liked Billa Bong, or whatever that cotton-candy elephant-dolphin's name was. I loved his sacrifice at the end, and what's this? Disney didn't bring him back to life?! I really liked that. 

 

Also, that look inside the boys mind at the end of the movie was priceless. So perfect  :lol:

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This movie was fantastic. :D 

 

Firefight spoilers: 

 

I couldn't stop thinking about what an Epic's brain must look like. Fear and Anger would definitely be calling the shots, with Sadness only able to come out at night, though she'd probably only be able to watch from the shadows while Fear ran dream duty. Depending on how much the Epic had come to embrace their corruption, Joy might be lying badly bruised somewhere in the halls of Long-Term Memories, locked in the Subconscious, or maybe even faded into nothing, with Anger doing his best to imitate her. :wacko:

 

But it was awesome. I'd say it's Pixar's most creative yet, from the core concept to all of the little touches. I laughed, I cried, and with the nightmare in Riley's new classroom when Joy and Sadness dress up in the dog costume and Bing-Bong makes a cameo, I laughed until I cried. :lol: 

 

And now I know what's going on when I get some stupid song stuck in my head. Thank you, Mind Workers. <_<

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Tripledent gum, it'll make you smile!

 

nadij.jpg

 

The more I think about that movie, the more research I realize they put into it. This article touches on a few things it covers, like long-term memory and apathy. 

 

I have a feeling Inside Out will be shown in more than one high school psychology course in years to come. (My sister graduated from a high school where her psych teacher had them watch Mean Girls and note all the psychological concepts.) 

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I adored this movie. :D

 

 

Personally I was disappointed that Bing Bong wasn't resurrected somehow. Yes, I am fully aware that I am an incurable softie. :P

 

My personal headcanon that since Joy still remembers him, Riley hasn't entirely forgotten him. And because she associates him with her child-like bliss and happiness, she will one day remember him as a vague character, whom she will flesh out and write about in children's literature. Riley will become something of a modern-day Dr. Seuss, and Bing Bong will achieve immortality in the imaginations of millions of little girls and boys.

 

But like I said. I'm a big softie. :P

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I adored this movie. :D

Personally I was disappointed that Bing Bong wasn't resurrected somehow. Yes, I am fully aware that I am an incurable softie. :P

My personal headcanon that since Joy still remembers him, Riley hasn't entirely forgotten him. And because she associates him with her child-like bliss and happiness, she will one day remember him as a vague character, whom she will flesh out and write about in children's literature. Riley will become something of a modern-day Dr. Seuss, and Bing Bong will achieve immortality in the imaginations of millions of little girls and boys.

But like I said. I'm a big softie. :P

I thought his lack of resurrection made his sacrifice more meaningful, but I did shed more than a few tears at that scene.

In his first adventure, he takes a little girl to the moon in his magic red wagon. :wub::ph34r:

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I also loved the movie, and how the emphasized that too much of one emotion, or the absence of any, can be a bad thing, particularly how dangerous it can be for joy-dominant person to suppress traditionally negative emotions, such as sadness.  

 

I also loved how Riley's emotions were all very diverse, but when you went into the heads of older people, you saw that they assimilate more after becoming balanced and used to working together.  For example, for the Mom, who was apparently sadness-dominant, all of her emotions resembled sadness, while the Dad, whose anger seemed to be in charge, had anger-ish emotions.  Riley's emotions bore resemblances to both of her parents, reflecting the fact that they were inherited, and still developing.  I'm curious to see if the gender expression of the emotions would change as Riley grew into maturity, since all of the mother's emotions seemed to be female identified, like her, while all of the father's emotions were male-identified.  

 

Since I watched it, I've been trying to figure out which emotion would be dominant for me.  On one hand, I'm fairly positive and energetic (and I definitely have a goof-ball island), but I'm also fairly discerning and critical (which to me relates more to disgust), and can be paranoid or neurotic (fear).  I definitely share Riley's tendency to suppress sadness, and have likely tried to keep anger in the "circle of anger" as well.  

 

What do you guys think your emotional make-ups look like?  

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I also loved the movie, and how the emphasized that too much of one emotion, or the absence of any, can be a bad thing, particularly how dangerous it can be for joy-dominant person to suppress traditionally negative emotions, such as sadness.  

 

I also loved how Riley's emotions were all very diverse, but when you went into the heads of older people, you saw that they assimilate more after becoming balanced and used to working together.  For example, for the Mom, who was apparently sadness-dominant, all of her emotions resembled sadness, while the Dad, whose anger seemed to be in charge, had anger-ish emotions.  Riley's emotions bore resemblances to both of her parents, reflecting the fact that they were inherited, and still developing.  I'm curious to see if the gender expression of the emotions would change as Riley grew into maturity, since all of the mother's emotions seemed to be female identified, like her, while all of the father's emotions were male-identified.  

 

Since I watched it, I've been trying to figure out which emotion would be dominant for me.  On one hand, I'm fairly positive and energetic (and I definitely have a goof-ball island), but I'm also fairly discerning and critical (which to me relates more to disgust), and can be paranoid or neurotic (fear).  I definitely share Riley's tendency to suppress sadness, and have likely tried to keep anger in the "circle of anger" as well.  

 

What do you guys think your emotional make-ups look like?  

 

I assumed Riley's gendered emotions were more reflective of her tomboyish nature, while more girly girls, like the "cool girl" whose emotions we saw at the end, had all-female emotions. If Riley becomes less of a tomboy during her teenage years, I think her emotions would become more feminine, but if she remains a tomboy, then I don't think they'll change in that way. They'll undoubtedly become more uniform and cooperative as she gets older, but I'm imagining puberty as the time when HQ enters constant panic mode. :P 

 

I liked the way that the adults' emotions all resembled one primary emotion, yet were still very cooperative, hinting at good emotional health. It was a creative way of saying that there are many different temperaments, and that is okay. Riley's dad, as you pointed out, was more anger-dominated, indicative of his aggressive-businessman approach to life. Yet he was far more emotionally healthy than the bus driver, whose emotions were more just different shades of anger than separate emotions. Her mother was more contemplative and pessimistic, but that was no more or less healthy than Riley's optimistic nature. 

 

After a bit of reflection, I think my emotions would primarily resemble fear. I've always been cautious and shy, though I do have a strong contemplative streak, so they might resemble sadness as well. 

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What do you guys think your emotional make-ups look like?  

 

 

Joy wears shorts, sandals, and a tilley hat while drinking tea with his pinky finger out. He's a goofball, but fancies himself a sophisticated gentleman and gives himself a little pat on the back whenever I make a joke as a result of his influence.

 

Anger is a broad-shouldered knight in pure red armor, who takes the wheel a bit more often than he should. The fire that burns within him is hot but smolders slowly, and his greatest priority is making sure my surroundings are ordered in exactly the way I like. He diligently takes control of the console whenever one of my neuroses is triggered.

 

Fear is a quiet chap, usually inactive and untalkative. He doesn't obsess over specific crises very often, but he often becomes convinced of something vague but terrible that could occur in the near future. As I said, he doesn't often take control of the console, but he collaborates with Sadness when I become convinced people don't like me.

 

Sadness is a drama queen. The only female Emotion in my skull, she dresses in black and loudly mourns the fading of all I hold dear when something bad or moderately annoying happens. Anger and Fear handle most empathetic situations, leaving her mostly in charge of self-pity.

 

Finally, Disgust is a squat, lazy fellow who doesn't do much of anything. Through inaction he's probably responsible for me eating fried grasshoppers and that one M&M I found on the floor. He does, however, leap to full action whenever I walk through a spider web.

Edited by Kobold King
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Ooooh, I was only thinking of the kind of hierarchy or pecking order.  Considering how those emotions actually represent is even more interesting!  I'll need to think more about that, before I post any guesses.  Since I'm in my mid-twenties, my emotions would probably be in the process of shifting from being more unique in appearance to being more uniform (like the mother and father's).  

 

I also like the point that Riley is not necessarily traditionally feminine in her gender expression as an explanation for her emotions expressing their genders differently.  In this context, it's interesting that all of her emotions represent a distinct binary gender (male or female--none express as non-binary or androgynous).  I wonder if this was intentional, or for simplicity's sake because of the genders of the voice actors.  

 

Another thing I loved about their treatment of sadness is the necessity of sadness for contemplation and for processing pain.  It was a very astute observation, and one I should be reminded of more.  

 

Also, did anyone else love the cat/dog emotions?  I found the cat especially to be incredibly accurate.  

 

EDIT: Another fun thing to consider (but not necessarily to share if too personal) - what would you consider to be your core memories, and what emotions are they primarily associated with (at the moment)?  I'll need to think more on this one too.

 

Firefight Spoilers:

I'll bet part of the effect of Calamity would be to reset a person's core memories, or to skew them all to be perceived through a fearful lens.  

.  

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Ooooh, I was only thinking of the kind of hierarchy or pecking order.  Considering how those emotions actually represent is even more interesting!  I'll need to think more about that, before I post any guesses.  Since I'm in my mid-twenties, my emotions would probably be in the process of shifting from being more unique in appearance to being more uniform (like the mother and father's).  

 

I also like the point that Riley is not necessarily traditionally feminine in her gender expression as an explanation for her emotions expressing their genders differently.  In this context, it's interesting that all of her emotions represent a distinct binary gender (male or female--none express as non-binary or androgynous).  I wonder if this was intentional, or for simplicity's sake because of the genders of the voice actors.  

 

Another thing I loved about their treatment of sadness is the necessity of sadness for contemplation and for processing pain.  It was a very astute observation, and one I should be reminded of more.  

 

Also, did anyone else love the cat/dog emotions?  I found the cat especially to be incredibly accurate.  

 

Yeah, there goes Kobold, raising the bar again. <_<:P And here I was, trying to figure out whether I had an entire Pug Island, or if every island just has pugs on it. :ph34r: 

 

Representing Riley's emotions on a strict binary was probably due to the voice actors, but the animators did raise interesting questions by making her parents', teacher's, and at least one classmate's emotions either all-male or all-female. Since her mother was very feminine and her dad very masculine, I think the gendering does have quite a bit to do with personality and expression. It would be interesting to see whether Joy, perhaps the most traditionally feminine emotion in her head besides Disgust, becomes more boyish as Riley gets older, or whether she keeps wearing her twirly yellow dress; and whether Sadness remains in her nondescript sweater, begins wearing punk skirts and boots, or wears something else entirely. And it would be interesting to see what that says about Riley's personality as a whole. Does Sadness' wardrobe change the way sorrow overall is expressed and processed?

 

Part of what's so interesting is that Riley is still a child, so there's so much still to change as she continues growing up. 

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Yeah, there goes Kobold, raising the bar again. <_<:P And here I was, trying to figure out whether I had an entire Pug Island, or if every island just has pugs on it. :ph34r:

 

Hey, it's not my fault that I slack off more than anyone else and have more time to write absurdly lengthy responses! :P

 

 

I'm pretty sure I have a Kitty Island, devoted to all the cats that I adore and interact with every day. :ph34r: And on a similar note, I have a 17th Shard island that fills pretty much the same role as Riley's Friendship Island.

 

 

Also, did anyone else love the cat/dog emotions?  I found the cat especially to be incredibly accurate.  

 

I cannot express how much I love it that animal Emotions were included. :D I loved how the dog Emotions were constantly in agreement, single-mindedly devoted to whatever goal they were currently pursuing, while the cat's Emotions were more chaotic. And also seemed to have no idea what they were doing, which fits with the bizarre and unpredictable emotions cats seem to have. :P

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I'm pretty sure I have a Kitty Island, devoted to all the cats that I adore and interact with every day. :ph34r: And on a similar note, I have a 17th Shard island that fills pretty much the same role as Riley's Friendship Island.

 

 

 

I cannot express how much I love it that animal Emotions were included. :D I loved how the dog Emotions were constantly in agreement, single-mindedly devoted to whatever goal they were currently pursuing, while the cat's Emotions were more chaotic. And also seemed to have no idea what they were doing, which fits with the bizarre and unpredictable emotions cats seem to have. :P

 

Sounds about the same for me. :P 

 

 

I personally liked the "cool girl's" emotions at the end. "They see right through us!" "How can they see through us? We're wearing eyeshadow." As a former junior high school girl, I can confirm that this thought process is extremely accurate. :D 

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Reckoners RP Babble (Ignore if you are just here to talk about the movie - it's not totally off topic, I promise, but I completely understand if people would rather not read about it):

 

So, as I was writing my latest Euphoria's post, I was thinking about what her powers would look like in the Inside Out universe.  I think that her positive emotion doses would distort and corrupt Joy, and make him/her dominant, while her emotional history revision power would have a similar effect to what Sadness did when touching the memories.  The memories themselves wouldn't change, but Euphoria's power would force it to be percieved through a different emotional lens.  

 

Back totally on topic, I also loved the eye-shadow comment.  From a visual standpoint, I also loved how the animators emphasized the primacy of the core emotions compared to the other denizens of Riley's mind by making them glow.  I mean, we knew all along that a person can never totally lose their joy, sadness, anger, fear, or disgust, only that they can be suppressed or lost for a time.  I think it really raised the stakes by having the main conflict not being that Joy and Sadness would be lost forever, but that they would not return in time to prevent Riley from changing who she was.  The conflict was very compelling. 

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Reckoners RP Babble (Ignore if you are just here to talk about the movie - it's not totally off topic, I promise, but I completely understand if people would rather not read about it):

 

So, as I was writing my latest Euphoria's post, I was thinking about what her powers would look like in the Inside Out universe.  I think that her positive emotion doses would distort and corrupt Joy, and make him/her dominant, while her emotional history revision power would have a similar effect to what Sadness did when touching the memories.  The memories themselves wouldn't change, but Euphoria's power would force it to be percieved through a different emotional lens.  

 

That's definitely an interesting thing to think about. I wonder if Quota would reach into people's minds and imbalance the Emotions, suppressing Joy and making Sadness or Fear dominant? He could also hijack the natural memory retrieval system, bringing back the worst memories an individual has.

 

 

 

On another note, here's a chart someone made for different Emotion combinations based on the movie.

 

C7xEyxNh.jpg

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That's definitely an interesting thing to think about. I wonder if Quota would reach into people's minds and imbalance the Emotions, suppressing Joy and making Sadness or Fear dominant? He could also hijack the natural memory retrieval system, bringing back the worst memories an individual has.

 

 

 

On another note, here's a chart someone made for different Emotion combinations based on the movie.

 

C7xEyxNh.jpg

 

That's more or less what I imagined Quota doing. I pictured his powers as a force that either gags Joy or pushes her out of HQ entirely, then causes the Mind Workers to send up the most fearful, tragic memories the person has. Fear and Sadness go into overdrive as they grab and project the memories, allowing Quota to pick and choose—albeit blindly—to accentuate the memories that cause the most pain. The more traumatic memories a mind holds, the easier Quota would find it to influence them.

 

Then again, with how eager the Mind Workers are to send up stupid jingles, they might be thrilled to work with Quota. <_<

 

That is an awesome chart. I think proportions could be adjusted to reflect how strongly a combination is felt, but I'd say they look pretty accurate. 

Edited by TwiLyghtSansSparkles
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I liked the movie, really did, but my favorite parts were the interactions between the character's emotions and there wasn't a lot of that. I would have much preffered more time with inter human interaction instead of the long quest to get Joy back to control. While there were interesting parts to the trip back, I thought that it got a little old and was kinda reaching down to make the kids enjoy the movie. I really enjoyed how in movies like Up, the movie never felt like it was aimed just at kids, and I think Inside Out didn't do that very well. I love movies aimed for all ages, not kids movies with enough value for older people. Small difference semantically, but to me it feels like a much larger difference.

So, I'm really anticipating a sequel and I really, really hope that now that we've got a background on how the emotions work inside one person, we can see more of the play between humans.

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I liked the movie, really did, but my favorite parts were the interactions between the character's emotions and there wasn't a lot of that. I would have much preffered more time with inter human interaction instead of the long quest to get Joy back to control. While there were interesting parts to the trip back, I thought that it got a little old and was kinda reaching down to make the kids enjoy the movie. I really enjoyed how in movies like Up, the movie never felt like it was aimed just at kids, and I think Inside Out didn't do that very well. I love movies aimed for all ages, not kids movies with enough value for older people. Small difference semantically, but to me it feels like a much larger difference.

So, I'm really anticipating a sequel and I really, really hope that now that we've got a background on how the emotions work inside one person, we can see more of the play between humans.

 

 

Oh, I'm with you all the way. I loved the inter-human interactions in the movie, and how even the most basic of conversations played out like a tense diplomatic scene in Star Trek. :lol:

 

 

Yes, this movie did feel different from other Pixar installations. While a lot of Pixar movies have a sort of ageless, artistic feel to them, Inside Out felt a little more like Wreck-It Ralph or Tangled. Still an amazing motion picture with a lot of genuine emotional content (heh), but still somewhat lesser than some of the more outstanding works in Pixar's history.

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While I also loved the human-to-human interactions (and spent much of the movie longing for more) I found the time spent inside Riley's head to be a profound and insightful look at how trauma messes with you. 

 

She spends most of the first quarter trying to stay happy. She's an optimist; she not only doesn't like being sad, but she appears to believe there's something wrong with it. Early interactions between Joy and Sadness—where Joy attempts to bring her focus onto positive thoughts but Sadness always sees the melancholy side of those thoughts—illustrate Riley's attempts to push all of her sorrow at moving deep down. Joy continually reminds Riley of fun, positive things to do and see, but Sadness keeps intruding on her happy memories. Those memories were connected with Minnesota, and she's not in Minnesota anymore. 

 

Then, San Francisco starts to grate on Riley. Joy's good ideas go sour, and the other Emotions are quick to point that out—most notably with the broccoli pizza. But it's all right, Joy keeps saying. It'll be all right. Something good has to be around the next bend. 

 

And then comes her first day of school. Riley's nerves get the better of her, the events of the last few days catch up—and she cries in front of the class. It's her first completely sad core memory—her first rude awakening that life isn't always happy. She knows she'll remember it for the rest of her life, but she doesn't want to. She tries to push it down, tries to hang onto the happiness in her other core memories. She tries not to feel sad, but she can't feel happy, either. Joy and Sadness get sent off to Long-Term, and for a while, Riley forgets how to be happy or sad. She's just angry, fearful, and disgusted with the whole mess. 

 

When her Islands of Personality begin to crumble, she's losing parts of herself. When Goofball Island falls, Riley has decided that being a goofball isn't worth it. It didn't bring her the joy it used to, and as happened with the rail earlier, thinking of all the other times she enjoyed being a goofball just made her sad. It's not worth the pain, so she shuts down that part of herself. The memory remains, but she doesn't want to risk Sadness getting ahold of it, so she makes a deliberate choice not to think about it or act on it. Similar things happen when other Islands crumble: It isn't just another setback on Joy and Sadness' quest to return to HQ; it's Riley blocking out good and happy memories in an attempt to stave off sorrow. Unfortunately, doing so also makes it that much more difficult for Riley to feel anything remotely positive. 

 

Riley's psyche attempts to get her back to emotional health, but as a child, Riley doesn't quite comprehend the importance of Sadness. All she knows is that she used to be happy, and now she's not. When she feels she has a chance to be happy again, she tries for it—but she pushes her sorrow down. She still won't come to terms with the move and how it affected her. As a result, many of the things that made her happy begin to crumble—glitter is dumped out, a giant teddy bear is ripped to shreds, Bing Bong dissolves into nothing. The trauma of the move leads to the end of her childhood, and she doesn't want to think about what she's losing. 

 

Meanwhile, Anger, Fear and Disgust know they're not doing well. They can't keep Riley functioning, with Joy and Sadness wandering the depths of her mind, so in a moment of desperation, Anger hatches a plan: Get Riley back to Minnesota. Riley's refusal to confront her feelings over the move has led her to choose a poor course of action in a last-ditch attempt to be happy again. In her anger, she has pinpointed external factors as the cause of her state, rather than confronting the emotional fallout. 

 

When Riley boards the bus, we see the true extent of her trauma: Apathy. Refusal to think of her good memories for fear they'll make her sad; allowing Anger, Fear, and Disgust to guide her; and shutting down essential components of who she is have left her unable to feel at all. She no longer thinks; she simply reacts. This is a dangerous state for a young girl to be in, and Riley has entered it. 

 

Then, on the bus, she allows herself to remember. She feels a little blue—and realizes she has to get back to her family. Despite Anger's previous assertions that her parents are to blame for Riley's mood; despite Fear wondering if they'll still take her back, Riley returns. And instead of telling her she has to be happy, they remind her that it's okay to feel sad. This leads not only to a reconciliation, but to the first blended memory, paving the way for greater emotional complexity in days to come. 

 

I do agree that Inside Out was different from Pixar's other works. It was certainly unexpected. But I say that it's every bit as ageless as films like Toy Story and Monsters, Inc. 

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My wife Karen has struggled with depression all her life and was recently diagnosed with bipolar type II. This movie hit us very hard. She says that some movies are just fun and forgettable, but some movies will have a long-lasting net positive influence on the world.

 

This movie is one of the latter type. It provides a framework for certain people to discuss what's going on in their lives, who before had no way to describe or understand what they're going through.

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What do you guys think your emotional make-ups look like?  

 

Mine are all probably wearing Elsa dresses and their hair in blonde plaits...... :D:rolleyes:  :wub:  :lol:

 

As for the movie, I felt that it was something I could definitely relate to, especially towards the end after the move.

Edited by Queen Elsa Steelheart
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Also, that look inside the boys mind at the end of the movie was priceless. So perfect  :lol:

This...so much. I actually lol'd a lot.

 

While I also loved the human-to-human interactions (and spent much of the movie longing for more) I found the time spent inside Riley's head to be a profound and insightful look at how trauma messes with you. 

 

She spends most of the first quarter trying to stay happy. She's an optimist; she not only doesn't like being sad, but she appears to believe there's something wrong with it. Early interactions between Joy and Sadness—where Joy attempts to bring her focus onto positive thoughts but Sadness always sees the melancholy side of those thoughts—illustrate Riley's attempts to push all of her sorrow at moving deep down. Joy continually reminds Riley of fun, positive things to do and see, but Sadness keeps intruding on her happy memories. Those memories were connected with Minnesota, and she's not in Minnesota anymore. 

 

Then, San Francisco starts to grate on Riley. Joy's good ideas go sour, and the other Emotions are quick to point that out—most notably with the broccoli pizza. But it's all right, Joy keeps saying. It'll be all right. Something good has to be around the next bend. 

 

And then comes her first day of school. Riley's nerves get the better of her, the events of the last few days catch up—and she cries in front of the class. It's her first completely sad core memory—her first rude awakening that life isn't always happy. She knows she'll remember it for the rest of her life, but she doesn't want to. She tries to push it down, tries to hang onto the happiness in her other core memories. She tries not to feel sad, but she can't feel happy, either. Joy and Sadness get sent off to Long-Term, and for a while, Riley forgets how to be happy or sad. She's just angry, fearful, and disgusted with the whole mess. 

 

When her Islands of Personality begin to crumble, she's losing parts of herself. When Goofball Island falls, Riley has decided that being a goofball isn't worth it. It didn't bring her the joy it used to, and as happened with the rail earlier, thinking of all the other times she enjoyed being a goofball just made her sad. It's not worth the pain, so she shuts down that part of herself. The memory remains, but she doesn't want to risk Sadness getting ahold of it, so she makes a deliberate choice not to think about it or act on it. Similar things happen when other Islands crumble: It isn't just another setback on Joy and Sadness' quest to return to HQ; it's Riley blocking out good and happy memories in an attempt to stave off sorrow. Unfortunately, doing so also makes it that much more difficult for Riley to feel anything remotely positive. 

 

Riley's psyche attempts to get her back to emotional health, but as a child, Riley doesn't quite comprehend the importance of Sadness. All she knows is that she used to be happy, and now she's not. When she feels she has a chance to be happy again, she tries for it—but she pushes her sorrow down. She still won't come to terms with the move and how it affected her. As a result, many of the things that made her happy begin to crumble—glitter is dumped out, a giant teddy bear is ripped to shreds, Bing Bong dissolves into nothing. The trauma of the move leads to the end of her childhood, and she doesn't want to think about what she's losing. 

 

Meanwhile, Anger, Fear and Disgust know they're not doing well. They can't keep Riley functioning, with Joy and Sadness wandering the depths of her mind, so in a moment of desperation, Anger hatches a plan: Get Riley back to Minnesota. Riley's refusal to confront her feelings over the move has led her to choose a poor course of action in a last-ditch attempt to be happy again. In her anger, she has pinpointed external factors as the cause of her state, rather than confronting the emotional fallout. 

 

When Riley boards the bus, we see the true extent of her trauma: Apathy. Refusal to think of her good memories for fear they'll make her sad; allowing Anger, Fear, and Disgust to guide her; and shutting down essential components of who she is have left her unable to feel at all. She no longer thinks; she simply reacts. This is a dangerous state for a young girl to be in, and Riley has entered it. 

 

Then, on the bus, she allows herself to remember. She feels a little blue—and realizes she has to get back to her family. Despite Anger's previous assertions that her parents are to blame for Riley's mood; despite Fear wondering if they'll still take her back, Riley returns. And instead of telling her she has to be happy, they remind her that it's okay to feel sad. This leads not only to a reconciliation, but to the first blended memory, paving the way for greater emotional complexity in days to come. 

 

I do agree that Inside Out was different from Pixar's other works. It was certainly unexpected. But I say that it's every bit as ageless as films like Toy Story and Monsters, Inc. 

 

 

o.O very...well written and insightful post TwiL :D

 

I feel it is a very good coming of age story, or even just an accurate representation of change in itself

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My wife Karen has struggled with depression all her life and was recently diagnosed with bipolar type II. This movie hit us very hard. She says that some movies are just fun and forgettable, but some movies will have a long-lasting net positive influence on the world.

 

This movie is one of the latter type. It provides a framework for certain people to discuss what's going on in their lives, who before had no way to describe or understand what they're going through.

Peter, I'm sorry your wife goes through this. About 4 years ago, I struggled with depression for about a month. To this day. I consider it the worst thing I've gone through - worse than any physical pain. I'm very grateful that I don't have to struggle with it constantly. I will keep her in my prayers.

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  • 4 weeks later...

(Great stuff. Couldn't agree more!)

 

I do agree that Inside Out was different from Pixar's other works. It was certainly unexpected. But I say that it's every bit as ageless as films like Toy Story and Monsters, Inc. 

 

^This. I was just about ready to type up a massive rant to rebuff LeftVash and Kobold's statements, and then I found that Twi had already done so, and far more eloquently than I would have myself.

 

I love Monster's Inc. It's wildly creative, and brilliant, and amazing. But honestly, I feel that Inside Out's simple, unexpected and incredibly powerful messages bring it onto a higher level. 

 

Yes, it is different. Different is good. That's what Pixar does. The reason films like Up and Inside Out stand out to me is because of the way they teach such unexpected yet important truths. 

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