Erin and Rachel discuss Bolt (2008), a lesser known film about a dog who thinks he’s a super hero. Under new leadership, Disney Animation Studios starts to come out of their slump with this film that some people found boring (Erin) and others found heartwarming (Rachel).

Erin and Rachel travel 700 years into the future to discuss WALL-E (2008), Pixar’s robot romance with an unintentionally anti-capitalist message. Fatphobia and misogyny make this dystopian tale unwatchable despite its endearing protagonist, striking animation, and moments of nostalgia.

Erin and Rachel discuss Ratatouille (2007), a Pixar film about a French rat who wants to be a chef. Their discussion includes a fine stew of food politics, meritocracy, and sexism with a garnish of fatphobia. Bon appetit!

Erin and Rachel travel to a frenetic future to discuss Meet the Robinsons (2007), a fever dream of a film that performed poorly at the box office despite intervention from John Lasseter, newly seated Chief Creative Officer of Walt Disney Animation Studios. Sexist and fatphobic content are only minimally present, but that doesn’t mean Erin and Rachel enjoyed this chaotic whirlwind of characters and colors any more than the critics who panned it in 2007.

In this episode about Cars (2006), Erin and Rachel take a road trip to Radiator Springs, discussing Pixar history, environmentalism, and masculinity and masculinity along the way. Ka-chow!

Chicken Little (2005), the modern retelling of the classic folk tale, will make you wish the sky was falling so the movie would end. Erin and Rachel discuss the gender dynamics and fatphobia in this story about a father and son (and also baseball and aliens).

Family superhero saga, The Incredibles (2004), was another smash hit for Pixar. Although fun to watch, the focus on a middle aged male protagonist leads Erin and Rachel to ask once again, who is this movie really for?

Erin and Rachel venture to the Old West to discuss the oft forgotten 2004 flop Home on the Range. The convoluted plot, juvenile humor, and unsympathetic characters make for a frustrating viewing experience. Most critics and audience members seem to agree this movie would be best put out to pasture.

Welcome to our family time! Erin and Rachel discuss Brother Bear (2003), another entry in the canon of Disney’s flop era. Despite disappointingly little effort on the part of the filmmakers to ensure cultural authenticity, Brother Bear manages to tell a sweet story with surprisingly little offensive content.

Erin and Rachel dive into a discussion of Finding Nemo (2003), the box office splash that enthralled audiences and critics alike. This movie about fish offers a surprising amount to wade through in terms of environmentalism, gender politics, and ableism.

Erin and Rachel explore Treasure Planet (2002), the biggest flop in Disney animation since The Black Cauldron. The hosts discuss what went wrong with this pet project of veteran directors Ron Clements and John Musker, beyond just the usual misogyny, that is.

Much like family dynamics and intergalactic diplomacy, Lilo & Stitch (2002) is a complicated movie. Erin and Rachel surf through the topics of Hawaiian culture and representation, colonialism, and Elvis.

Erin and Rachel sing their way through a March madness style bracket to determine the best Disney song of all time!

Join Erin and Rachel on the Scare Floor for a discussion of Monsters, Inc. (2001). The impressive animation, clever world building, strong performances, and high joke density adequately compensate for some outdated fatphobic, classist, and misogynist beats. Under director Pete Docter, Pixar has officially hit their stride with this critically acclaimed box office smash.

Making sense of the plot of Atlantis: The Lost Empire (2001) proves almost as difficult as locating a lost civilization in the Atlantic Ocean. Erin and Rachel muddle through the complicated lore of this box office flop and manage to find some positive depictions of gender roles and racial diversity.

Erin and Rachel try not to throw off the emperor’s groove with their critique of the cultural appropriation and homophobia in this cult classic from 2000. Ultimately, the memeable humor and nuanced portrayal of masculinity make The Emperor’s New Groove a palatable offering from a studio that was floundering post-Renaissance.

Disney animators combined computer generated animation with live action background scenery to create the visually stunning Dinosaur (2000). Unfortunately, the boring plot and lackluster characters leave Erin and Rachel wishing that these dinosaurs would hurry up and go extinct.

Originally planned for a direct-to-video release, Toy Story 2 (1999) was deemed too good for the small screen and instead enjoyed a theatrical release that was met with rave reviews. The addition of a plucky heroine with a tragic backstory mitigates some of the toxic masculinity from the first installment, but ableism and fatphobia manage to sneak in.

Erin and Rachel swing to the end of the Disney Renaissance with their discussion of Tarzan (1999). The hosts fault the filmmakers for their choice of racist, misogynistic source material, but applaud the stunning visuals, quotable script, and catchy soundtrack.

Despite competing with a similar insect-themed offering from DreamWorks, Pixar’s sophomore feature film, A Bug’s Life (1998), earned positive reviews at the box office and solidified the reputation of the animation studio. Although misogyny, racism, and fatphobia are sprinkled throughout, Rachel eagerly celebrates this movie as a depiction of Marxist class revolution; Erin is less enthusiastic.