Dream Productions Review: Inside Out Spin-Off Isn’t A Nightmare – But It’s Not Essential Either

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As someone who has grown up with Pixar’s Inside Out series, I must admit that “Dream Productions” left me feeling a tad underwhelmed. It’s like they took a scoop of my favorite ice cream, added a few sprinkles, and served it to me in a smaller bowl.

After “Moana 2” was changed from a streaming series to a theatrical sequel, it’s not hard to visualize a scenario where “Dream Productions” was quickly rebranded as “Inside Out 3.” Instead of the four-episode spin-off on Disney+ being a spin-off from Pixar’s popular franchise, its storyline is very similar to that of the two previous “Inside Out” films. Here, young Riley (Kensington Tallman) faces another significant life event and worries about what her peers will think. While the perspective through which we see the story has changed, it’s good that Disney didn’t suddenly hold a shareholder meeting to announce that this would become a trilogy, following the success of “Inside Out 2” at the box office.

In a single viewing, “Dream Productions” clocks in at approximately 90 minutes and is notably lighter than its two predecessors in this series, lacking the intense emotional impact found in their big-screen counterparts. Nevertheless, it subtly hints at the potential for an entertaining office sitcom, offering a peek behind the scenes of the movie studio responsible for crafting Riley’s dreams, mirroring contemporary Hollywood, complete with executives who believe they hold superior knowledge over the creative teams.

The main issue with the show is its inconsistent use of a mockumentary format similar to “The Office,” which Disney hasn’t employed since the underwhelming “Muppets” series on ABC more than 10 years ago. This choice is puzzling, given that within the context of the story, it makes no sense for anyone to be filming the documentary.

Dream Productions struggles with logic and new ideas

As a gamer, I’ve found myself immersed in Dream Productions, a realm brimming with ideas, reminiscent of the “Inside Out” films, but lacking the finesse in seamlessly blending these ideas into an already established universe. The Pixar brand’s reputation and industry-wide parody give this series a broader scope beyond just entertaining young audiences, which unfortunately makes it more susceptible to criticism on that front. After two films heavily focused on explaining Riley’s imagination, it’s challenging not to overanalyze the workings behind her dreams.

The story unfolds between the initial two movies, when Riley has adapted to a new school environment, yet before she attends hockey camp and encounters a wave of teenage feelings. The narrative centers around the days leading up to her first school dance, which she’s unsure about attending due to not having a date, her mom giving her an unappealing dress, and her growing apprehension about going. Simultaneously, in Riley’s mind, renowned film director Paula Persimmon (portrayed by Paula Pell) remains oblivious to these preteen concerns and continues to concoct dreams involving colorful rainbow unicorns, something she should have outgrown. The studio executive Jean (played by Maya Rudolph) aims to inject drama that appeals to teenagers by elevating daydream director Xeni (performed by Richard Ayoade, reprising his role from Joanna Hogg’s “Souvenir” films) to a higher position. However, his unique storytelling methods lead to disagreements with Paula, and the dreams they create further exacerbate Riley’s overwhelming anxiety.

It doesn’t realize its potential

This intriguing dynamic could support a prolonged series rather than a standalone spin-off as it currently seems, offering ample scope for storytelling within this straightforward structure. The influence of Riley’s dream projections on her life choices is just as significant as her core feelings, and telling the story from a distance that allows the internal humor to overshadow any heavier external drama is ideal if you intend to maintain this concept across multiple seasons. Regrettably, “Dream Productions” has been presented as a self-contained tale, with its behind-the-scenes disputes resolved by the finale, leaving one with the impression that we’ve barely scratched the surface of its potential. This is why it feels so disappointing when seemingly underdeveloped ideas like the sleepwalking sequence are introduced; these are concepts better suited for Season 3 to freshen up an existing formula, not ideas hastily added in Episode 3 to artificially increase tension early on.

In other scenes, casual remarks seem to suggest that the creators may not have fully grasped the boundaries of this concept. Since all characters are confined within Riley’s mind and can only interact with the outside world through her perception, it seems strange when Jean mentions phone calls with the film studio head who resides in Riley’s father’s mental space. The most plausible explanation that would make sense is telepathy. However, if this appears to be excessive analysis for a comedic element in a children’s show, consider the intricate world-building of the “Inside Out” films, where every aspect was carefully designed to maintain logical consistency and satisfy the curiosity of young minds eager to understand why the brain operates as it does.

A notable observation about “Dream Productions” is that it might benefit from less association with “Inside Out.” The voice talents behind Riley’s core emotions, spearheaded by Amy Poehler as Joy, reprise their roles here mainly to offer commentary on the dream broadcasts, reminiscent of a family-friendly version of “Beavis and Butt-Head.” However, they never interact directly with the studio characters, which appears more like an attempt to mimic the films, rather than allowing the series concept to shine independently. In time, this separation could lead children to question: if dreams generate Riley’s emotions here, then what purpose do Joy and her friends serve? If “Dream Productions” had chosen to maintain its identity as a workplace sitcom, it would have been a refreshing extension of the franchise. However, it seems to be entangled in trying to prove its worthiness to be part of it.

“Dream Productions” premieres on Disney+ on December 11.

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2024-12-11 11:30