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Recent Pixar Layoffs Include LIGHTYEAR Director

Photo from IMDb

Recent Pixar Layoffs Include LIGHTYEAR Director

By Movieguide® Contributor

Pixar Animation Studios is one of the most successful companies in the entertainment industry. Yet, this year it laid off several longtime employees, including the director of LIGHTYEAR, Angus MacLane. 

As SF GATE reported:

Seventy-five people were laid off May 23, Reuters reported, including two of the executives behind “Lightyear”: director Angus MacLane and producer Galyn Susman. MacLane had been at Pixar for more than two decades, serving as an animator on classics like “Toy Story 2,” “The Incredibles” and “Finding Nemo.” He co-directed the 2016 sequel “Finding Dory” before his first solo directorial feature film “Lightyear.” The spinoff of the “Toy Story” franchise, which featured Chris Evans as the voice of Buzz Lightyear, was a commercial dud; Deadline estimated the film lost the studio more than $100 million. 

The layoffs could be attributed to LIGHTYEAR’s box office bomb that resulted in $100 million in losses.

Instead of a lighthearted adventure of an eager space ranger, LIGHTYEAR chose to push an immoral agenda toward the most vulnerable audience: children.

As Movieguide® makes clear in its review of the film:  

[T]he whole movie is centered on an LGBT, radical feminist, anti-male ideology. In fact, Buzz Lightyear isn’t really the hero in the movie. The movie’s real hero is Buzz’s female friend, a lesbian, who marries another woman and becomes pregnant, presumably by artificial insemination. Together…two women raise a son, who marries a woman and has a daughter. During this whole story, there’s no mention of a grandfather. Instead, Izzy, the granddaughter, mentions at one point that she has two grandmothers. To top it off, there are no references to Izzy’s father, including no scenes of her interacting with her father. Thus, the movie’s whole story seems to be a politically correct validation of LGBT ideology, including an attack on masculinity and the traditional nuclear family. 

Pixar lays off MacLane and others largely for economic reasons, yet the Studio still allowed an overtly woke propaganda piece to go to theaters. Were Studio executives like John Lasseter so out of touch with American audiences as to think viewers’ reactions to such a politically correct film would be different than they were? 

Time will tell if Pixar Animation Studios has learned the most important lesson their recent lay offs have to teach them. It is to be hoped that the venerable studio behind such animated classics as TOY STORY, THE INCREDIBLES, and WALLE will see that the solution is families want wholesome movies for their children, not movies that promote a progressive agenda.


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