Elio was allegedly a queer-coded character, but Pixar did not make it come true

Elio was originally written as a queer-coded character, according to several reports following the film’s underwhelming release. While Pixar's marketing and early drafts hinted at this direction, the final cut of the movie makes no clear reference to the protagonist’s identity, sparking questions about why those elements were removed.

The conversation began after The Hollywood Reporter published a detailed article on June 30, 2025, sharing accounts from individuals familiar with the film’s production. According to multiple insiders, Elio was initially envisioned as a queer-coded character, drawing from original director Adrian Molina’s perspective as an openly gay filmmaker.

While Molina did not intend for the film to be a coming-out story, the character was crafted with subtle identity cues. These included a scene of Elio collecting trash on the beach and turning it into clothing like a pink tank top, as well as bedroom decor suggesting a male crush.

Over time, these details were removed following internal feedback. Leadership at Pixar reportedly encouraged changes that led to Elio being portrayed in a more traditionally masculine way. As a result, themes of environmentalism and personal expression through fashion were downplayed or erased. Some elements, like a cape made of soda can tabs, remain in the final version but without context or narrative explanation.

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Pixar allegedly removed queer elements from Elio during production

A still from the original vision of the character, where he wears a cape made from soda can tabs and plastic cutlery, a remnant of the “trash-ion show” sequence later removed from the final cut. (Image via Pixar)

According to these reports, the queer-coded elements in Elio were allegedly part of early development, but changes were made after feedback from test audiences. Reports noted that after screenings in select markets, Pixar made behind-the-scenes decisions to reshoot parts of the film and tone down specific narrative threads.

The Hollywood Reporter revealed that Adrian Molina, the film’s original director, screened a near-complete version in 2023 for Pixar leadership. He left the project following feedback from chief creative officer Pete Docter. While there are differing accounts of that conversation, insiders said Molina was hurt by the response. Not long after, Pixar announced that co-directors Madeline Sharafian and Domee Shi would take over the film. Much of the original content was reworked or removed during their direction.

Sarah Ligatich, a former Pixar assistant editor and member of the internal LGBTQ group PixPRIDE, told THR,

“I was deeply saddened and aggrieved by the changes that were made.”

She added that several creatives left the project after seeing the new cut. One former Pixar artist said,

“Suddenly, you remove this big, key piece, which is all about identity, and Elio just becomes about totally nothing.”

The same artist also noted that Elio’s queerness was consistently diminished during production, describing a process of “sanding down” these moments. Reports also noted that during a test screening in Arizona, none of the viewers raised their hands when asked if they would pay to watch the film in theaters, despite enjoying the story. This feedback contributed to the studio’s decision to change direction, according to THR.

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Elio’s final version shows no clear signs of queer coding

Elio is swept into the Communiverse, a journey once meant to reflect deeper themes of identity, many of which were altered or removed during production. (Image via Pixar)

By the time Elio reached audiences, the final cut showed little to no evidence of the queer-coded themes that had been allegedly present during early development. Out Magazine and LGBTQ Nation on July 1, 2025, reported that the removal of these elements left viewers with a version of Elio that felt stripped of its original personality. Hints of the character’s earlier traits remain, such as a cape made of soda can tabs, but without explanation or context.

Sources told THR that the decision to remove these elements came from within Pixar leadership, rather than Disney. A former Pixar artist told THR,

“A lot of people like to blame Disney, but the call is coming from inside the house. A lot of it is obeying-in-advance behavior, coming from the higher execs at Pixar.”

The artist also mentioned that similar creative constraints were applied to other upcoming Pixar films, including Hoppers, where environmental themes were reportedly toned down. Despite critical approval, including an 83 percent rating on Rotten Tomatoes and an A CinemaScore, the film opened to just $20.8 million domestically, marking the lowest debut in Pixar’s history.

By early July, its global box office earnings stood at just over $72 million. Reports also indicate that the production budget may have exceeded $200 million, significantly more than the studio’s official figure of $150 million.

Molina, who had previously co-directed Coco, returned to Pixar to work on Coco 2 following his departure from Elio. Meanwhile, some insiders questioned whether the outcome would have been different if the studio had kept Molina’s original vision. One artist asked,

“Would they have lost this much money if they simply let Adrian tell his story?”

The completed version of Elio bears minimal resemblance to the narrative its initial creators intended to convey. The elimination of queer-coded aspects, the exit of important contributors, and the movie’s financial return showcase a production influenced by internal changes and external tensions.

With new projects like Hoppers and Toy Story 5 on the horizon, Pixar's journey with the film becomes a benchmark for conversations surrounding creative direction, representation, and audience response.

The film is now showing in cinemas. What do you think about Pixar's approach to the creative direction of this movie? Express your opinions and participate in the broader dialogue regarding how identity and narration are influenced in animated content.