Finally giving Disney fans an excuse to break out their nice Goofy-embroidered denim shirts, the D23 Expo is in full swing, offering early promotional glimpses at all the expensive stuff Disney has bought in recent years. “Look at my shit!” Disney CEO Bob Iger exclaimed to his own devoted Disney girls today, hopefully, in introducing the Pixar branch of the studio’s vast franchise empire, then brought out directors Andrew Stanton, Pete Docter, and Pete Sohn to tease the next generation of original Pixar films that will make you forget all about Planes. Each of these filmmakers then also announced their respective film’s voice casts—which as you might expect, consist of basically every actor with a working mouth-hole in Hollywood.
Sohn’s The Good Dinosaur—previously revealed to be about an Earth where dinosaurs didn’t go extinct, and instead had to suffer the slow extinction of the dinosaur middle class—will debut in May 2014 and star Raising Hope’s Lucas Neff, with help from Judy Greer, Frances McDormand, John Lithgow, Neil Patrick Harris, and Bill Hader. In summer 2015, Hader also pulls double duty in Docter’s Inside Out, the film that is unfortunately no longer titled Untitled Pixar Movie That Takes You Inside The Mind, because they are cowards. Hader stars
in an as-yet-unknown role as Fear alongside Lewis Black as Anger, plus the vintage NBC Thursday night trio of Amy Poehler (as Joy), Mindy Kaling (as Disgust), and Phyllis Smith (as Sadness) in the movie about feelings talking about their feelings, set in a human mind with locations like Train Of Thought, Imagination Land, Dream Production, and, presumably, Urge To Eat A Whole Goddamn Pizza Ville.
And then there’s Stanton’s previously announced Finding Nemo sequel, Finding Dory, which will obviously feature returning voice actors Ellen DeGeneres and Albert Brooks, but also adds Diane Keaton and Eugene Levy as Dory’s parents and Ty Burrell as a Beluga whale. And not mentioned at D23, but definitely of note: The New York Times reported today that Finding Dory has had its marine park-set ending rewritten in the wake of the Sea World exposé Blackfish, after audiences were shocked to learn that captive animals in amusement parks do not spend their off hours dreaming up new tricks for the nice people. Instead, “Pixar decided to restructure that part of the story so that the fish and mammals taken to its aquatic center have the option to leave,” thus inspiring your child’s very first pointing out of a giant logical fallacy.