"As far as I know, the guys at Pixar are opposed to a Monsters, Inc. sequel"
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It lands like a shrug, but it’s really a tiny act of boundary-setting in an industry built on sequels. Goodman’s “as far as I know” is a classic actor’s hedge: polite, noncommittal, and strategically hands-off. He’s not announcing insider intel so much as refusing to manufacture it. In celebrity culture, where every microphone becomes a rumor factory, that clause signals, “Don’t make me the headline.”
The second move is the gentle displacement of agency. “The guys at Pixar” puts the creative decision back where the public rarely imagines it belongs: with the studio’s internal taste and standards, not the star’s willingness, not the fans’ appetite, not the corporate logic of IP extraction. It’s also a subtle compliment. Pixar’s early reputation was built on treating sequels as earned, not inevitable; Goodman’s phrasing preserves that aura of principled restraint, even if the business side is always humming in the background.
Then there’s the word “opposed,” unexpectedly strong for such a casual sentence. It implies an active resistance, not a scheduling issue or a “maybe later.” That gives the line its cultural charge: a rare whiff of creative defiance amid franchise reflex. Coming from the voice of Sulley himself, it reads as affectionate loyalty to the original rather than rejection of the audience. Goodman isn’t teasing; he’s protecting the memory of a film that worked because it felt complete, not expandable.
The second move is the gentle displacement of agency. “The guys at Pixar” puts the creative decision back where the public rarely imagines it belongs: with the studio’s internal taste and standards, not the star’s willingness, not the fans’ appetite, not the corporate logic of IP extraction. It’s also a subtle compliment. Pixar’s early reputation was built on treating sequels as earned, not inevitable; Goodman’s phrasing preserves that aura of principled restraint, even if the business side is always humming in the background.
Then there’s the word “opposed,” unexpectedly strong for such a casual sentence. It implies an active resistance, not a scheduling issue or a “maybe later.” That gives the line its cultural charge: a rare whiff of creative defiance amid franchise reflex. Coming from the voice of Sulley himself, it reads as affectionate loyalty to the original rather than rejection of the audience. Goodman isn’t teasing; he’s protecting the memory of a film that worked because it felt complete, not expandable.
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| Topic | Movie |
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