Entertainment
The emotions return in ‘Inside Out 2’ — in more ways than one
Kelsey Mann was scanning some old photos when he came to a series of pictures from his childhood birthdays and was struck by what he saw.
“I was 5, and it’s my birthday, and I’m sitting there in front of my cake … I think it was the smile and the joy on my face that made me stop,” says the director of “Inside Out 2.” “I’m like, ‘Wow, I am really enjoying the hell out of this moment.’ Then I turned 8, and my smile went down. I turned 11; it went down even further. Then 13, and I’m just staring at this cake, wishing I was anywhere but there.
“So I thought, ‘What the hell happened?’ ”
“Inside Out” had been a huge hit for Pixar in 2015. The comedy about 11-year-old Riley’s emotions, led by Joy, struggling to find balance within her grossed more than $850 million and won the animated feature Oscar. Naturally, with a sequel in mind, the studio’s writers had been continuing to learn how the mind works.
“A lot of us [were] doing the research of what goes on in the brain — suddenly, I — ‘Oh, I understand what I was doing,’ ” Mann says of the change in his photos. “This is the time when you become really self-conscious and compare yourself to others. … I hated the attention. I just wanted it to be over. So that feeling of not feeling good enough is where a lot of this began.”
“Welcome to Pixar,” says “Inside Out 2” co-writer Dave Holstein, to laughter from Mann and co-writer Meg LeFauve, over a video chat. “We start at the emotional core and we think, ‘What’s the saddest possible thing?’ ”
They laugh again, but this is the studio that traumatized us all with the opening sequence of “Up.” And for “Inside Out 2” — also nominally a comedy — they were steeped in one of the most terrifying circumstances: puberty. In the sequel, now-13-year-old Riley is doing great, playing hockey with good friends. Her now-united emotions, led by Joy (voiced again by Amy Poehler), are nurturing her developing Sense of Self. Then a whole squad of new emotions, powered by the frantic energy of Anxiety (Maya Hawke), arrives and throws everything off kilter.
Holstein says, “When Kelsey was discussing that seed of this idea, I think the question that came up for me was, ‘What happens to joy as we get older?’ ”
LeFauve says, “Perfectionism and anxiety taking over at that age is something that we could all relate to … [but] it also had to be fun. You want to be true and authentic to the research and human beings,” she says of wanting the film to be relevant to teenage girls like the ones in the story.
But with all the input from different places and the different plot threads involving Riley’s struggles to fit in at hockey camp, Anxiety’s misguided attempts to help, exiled Joy’s quest to return and restore balance and all the “balls in the air” and “three-dimensional chess,” as LeFauve puts it, Mann would keep coming back to the central idea: “ ‘What’s the story? This is about Joy.’ ”
“There’s a real ‘Inception’ quality to writing an emotional arc for an emotion inside someone else’s head while thinking about it in your head,” Holstein says with a chuckle. “So it is like three-dimensional chess, but played on a Chinese checkerboard during a game of Clue inside a dishwasher.
“The first movie, to me, was Joy discovering the power of Sadness,” Holstein adds. “And this movie, for me, had to be Joy discovering the power of Joy.”
They didn’t have to go far to find subjects for research. During COVID-19 closures, they got to see kids up close every day at home. But LeFauve didn’t even have to look that far to get started.
“I suffered from anxiety as a teenage girl,” she says. “So I was very much drawing from my own experience and how isolating that can be, especially in all the social things going on. As an adult, I found the solution of asking Anxiety to take a seat and to say, ‘I’m not going to die.’ ‘Give her a job.’ I do want teenagers to know you can ask anxiety to take a seat. It really does work. Give her a job. She needs a job. It’s not a piece of yourself you can cut out or get rid of. When I have my anxiety, I say, first, “Thank you. I know you’re trying to protect me.” She’s a part of me. She’s a part I need, but you can take a seat. I’m OK.”
LeFauve had other personal experience to rely on as well. “I have a son who has anxiety, so he would constantly be telling me about the projections of the future, and ‘What if?’ It helped to give him the clarity of, ‘But is that happening?’ It’s what Joy is saying in that sequence. So a lot of the sequences came from my experience as an anxious teen and adult and as a mom with an anxious teen.”
Often, the adults learned from the kids. Mann says his daughter’s leanings toward perfectionism have caused her some anxiety.
“A lot of what my daughter has been able to learn, I’ve been able to learn from and put in the movie — the whole panic-attack scene at the end,” he says. “[Riley’s] having one and starts to come down out of it; she’s using her senses in order to ground herself in the present. … It’s a technique I learned through my daughter.”
Holstein, who says he had a speech impediment as a boy, says that multiplicity of perspectives was key to the film’s success (“Inside Out 2” is the highest-grossing animated film ever, with nearly $1.7 billion worldwide, and holds a 90 positive rating on Rotten Tomatoes): “It works on two eyelines. The kid in me wanted to tell the story of that stuttering kid who got hold of his anxiety and the adult in me wanted to tell the story of not wanting to see the joy leave my 7-year-old son’s face after every birthday cake.”
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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