Jon Negroni’s Intriguing Pixar Theory (w6)

Jon Negroni took a very intriguing approach when he wrote his online theory; “The Pixar Theory”. The theory, which was published on July 11, 2013, states that every single Pixar film is connected in chronological order, and exists in a single universe. To formula such a theory requires creative thinking, reasoning, attention to detail, and a wicked imagination. Therefore, that is why after reading the theory I was so convinced that I wanted to use Negroni’s writing as my primary text for essay two. There are three major instances incorporated into his theory that caused me to pause and admire Negroni’s thought process.

In the latter stages of introducing his theory, Negroni states the following: “The point of this theory is to have fun and exercise your imagination while simultaneously finding interesting connections between these fantastic movies. If you hate fun and/or imagination, you probably won’t like this theory.” I enjoyed reading this excerpt because it sends an important message; this theory isn’t based on fact, instead it’s open to interpretation and debate. Reading passages that can be viewed in multiple different ways and are full of endless possibilities, is a better and more interesting read than readings composed of unarguable facts. By that logic, Negroni’s multi-faceted theory is extremely interesting. What also impressed me in that excerpt was Negroni’s acknowledgement of his target audience. He realizes that not everyone is going to comprehend or enjoy his theory. So, he essentially turns the unfavorable audience away, and welcomes those in favor of his creative thought process. That bold move significantly appealed to me because I am a very creative-minded person, and because of that he is essentially welcoming me to interpret his theory. Capturing the attention of the reader is very important early in a passage, and Negroni succeeded in capturing my attention and interest.

Once Negroni starts developing his theory, he brings each and every up to date Pixar film into his argument. Along the way, he says: “Some have noted that the world of Cars can’t be after humans left because there’s no pollution shown in the movies. If you look carefully at Wall-E, however, the world is never shown during this time, so we don’t really know how badly the Earth was polluted. It’s possible that the machines sent humans away to curb overpopulation and fix the environment without them, but the world was drained of resources as a result of machines populating the Earth. That would explain why the machines abandoned Earth entirely, leaving only Wall-E behind.” This excerpt caused me to grow extremely attracted to Negroni’s approach due to his ability to address the counter-argument and prove why it’s wrong. Therefore, the clarity of Negroni’s argument is all the more clear, and his theory is much more complete. By including this paragraph, Negroni makes the reader believe that his theory is true fact. Any potential flaws in his argument and critical inquiries by readers are diminished due to paragraphs like these. How else has Negroni attracted my interest?

Towards the end of his theory, Negroni concludes: “And that is the Pixar Theory. More will be added to it, undoubtedly, when Pixar’s next movie The Good Dinosaur comes out in 2014.” (Because the film was released in 2014 and the theory was written in 2013, the theory still requires development.) Negroni continues: “The Good Dinosaur is supposed to be about an alternate universe where dinosaurs never went extinct because a meteor never wiped them out. They have humans as pets in this alternate reality. My theory is that this ‘alternate universe’ explains why so many things in Pixar’s universe are different from ours. It’s because evolution was never interrupted by a world-wide catastrophe. Humans evolved into supers and animals gained sentience faster, accelerating the apocalypse for resources that could do the same to our timeline. Oh, and Dinoco from Toy Story and Cars is a loose, but fun connection to speculate on.” Perhaps this excerpt impressed me the most. Although Negroni’s knowledge of the film was limited at the time of his writing, he was still determined to tie it into his theory somehow. Negroni easily could have brought his theory to halt without the inclusion of the film. But, he is so convinced that every single Pixar film is connected, that he seeks to incorporate new films and fit them into his theory somehow. Additionally, he has evidently already started crafting his theory about the film, even though it hasn’t been released in theatres yet. Therefore, it ultimately appears that Negroni will continue to expand his theory as long as Pixar continues to produce films.

Altogether, the fashion in which Negroni constructed his argument caught my attention. To be able to view a series of films and establish connections that interconnect all of them is extremely impressive. Negroni captures the attention of the reader by first establishing his target market, which is those who are interested in imaginative and creative thinking. In the process, Negroni admits that those whose minds work mostly through true facts, are unlikely to enjoy his theory. Due to my attraction to loosely interpreted material, I viewed Negroni’s statement as an invite to explore his theory, and I was immediately pulled in to his text. Next, Negroni adds to his theory by addressing inquires made about aspects of his theory, and debunks them. At this point, I really started to believe that Negroni’s thoughts are more than a theory — I started to believe that they are real. By explaining his points and disproving potential flaws, his argument seemed complete to me. Last, Negroni attempts to develop his theory with a film that hasn’t even been released yet; The Good Dinosaur. Such determination to expand his theory, and apply it to all Pixar films really gathered my interest. Because of these reasons, I had no doubt that I wanted to use Negroni’s theory as my primary text for essay two. I am extremely excited to see how the theory evolves as new Pixar films are released.

One clap, two clap, three clap, forty?

By clapping more or less, you can signal to us which stories really stand out.