Since the arrival of Toy Story, Pixar has been the Walt Disney Company’s golden goose. Nearly every short-film and animated feature the company has produced has been a triumph for the world of computer-animated films. At times, it seems like Pixar and all the incredible artists involved can do no wrong. Though they might be a powerhouse of colorful storytelling and emotional, character-driven plots, Pixar is not without its blunders. No, we’re not talking about the animated blooper reels at the end of A Bug’s Life, Toy Story 2,  and The Incredibles. We’re talking big mistakes and shortcomings that flew completely under the radar. Perhaps because we were all so distracted by the blend of cutting-edge animation and Disney magic.

When we say big mistakes, we’re not talking about a computer glitch or technological failure, but more common accidents or errors in research or delivery. The creative minds of Pixar are brilliant and many are pioneers in the animation field, but they’re still human. It’s through finding the hiccups and tidbits in our favorite films that give it a more human and relatable quality, we do this out of fandom, not malice. That being said, let’s tear through some pieces of Pixar perfection and point out their animated errors. Have your Luxo Lamps ready for inspection as we look at 25 mistakes in famous Pixar films.

THE INSIDE OF MIGUEL’S HOME CHANGES CONSTANTLY

To be fair, you could make some artistic argument that this was done to reflect the internal turmoil of the character, represent the passing of time, or whatever else you want to call it. We’d call it an inconsistency that nearly slipped by our senses.  The hacienda’s hues alone change frequently in the film, mostly various colors of stone and decor, but it’s noticeable nonetheless.

We’re willing to give this one a pass as our protagonist isn’t in the realm of the living most of the film, but some of the more avid Disney/Pixar buffs, like ourselves, definitely saw this. It’s a forgivable mistake, but one we’re not going to let slip by. Stay tuned readers, they get bigger from here.

MERIDA’S CORSET

Easily our favorite red-haired royalty, Merida is a warrior princess worthy of the name. Though we love how she bears her bow like a boss, Queen Elinor might have some opposing opinions. Early in the film, we see Merida’s mom try to separate the princess from the warrior by enforcing some medieval costumery before presenting her to the son’s of neighboring clans. Though it’s interesting to see some more period-style garb in a Disney flick, the dress has a major flaw.

If this is truly Medieval Scotland, the corset Merida wears should not exist, they weren’t invented till the 17th century. Though it’s a great symbol of her mother’s suffocating grip, not so much on historical accuracy.

KEVIN’S A GIRL BUT HAS A MALE’S FEATHERS

The “Monster of Paradise Falls” is easily the most colorful character in Pixar’s Up, and we love her for it. Kevin is the gawky, squawky, long-legged bird friend Carl and Russell encounter on their adventure and the subject of a few funny lines when it’s discovered she has a nest full of eggs. But perhaps the confusion is warranted thanks to her design.

Kevin was designed after the male Himalayan Monal Pheasant, a small but brilliantly colored bird from Nepal. The likeness is strikingly similar, but Kevin’s coloration is based on the male of the species, not female. The bright feathers are used to attract mates in the wild, but Kevin’s plumage is just to accentuate her absurdity. Points to Pixar for real-life inspiration, though.

CARL’S HOUSE DOESN’T HAVE ENOUGH BALLOONS

While we’re on Up, let’s shatter the illusion of an old man flying to Paradise falls with helium balloons. Let’s be honest, it’s one of Pixar’s most loved, but most ridiculous plot lines.  Not only is the massive collection of balloons beautiful it’s also a huge mistake.

There are 10,927 balloons in all the flying sequences and over 20,000 in other shots, but that would still not be enough to get the house to fly. Pixar even researched it themselves and decided to go with what was more visually pleasing. It was all a matter of design choice, not physics. It would take over 105,000 balloons to get a house off the ground, but that wouldn’t be so easy to animate.

COLETTE’S HELMET DISAPPEARS

Let’s take a jump from Brazil to France with Pixar’s Ratatouille. The film is a fun food-themed frolic through the world of French cuisine, but not without a few skewed flavors. Though the material was thoroughly researched for the film, there were one or two little hiccups in the animation department.

One of the most obvious mistakes was Colette’s vanishing helmet. The intense assistant chef certainly has the tough-girl persona down, and she rocks that look with a leather jacket and a motorcycle, but for some reason, we only see her helmet once and she never wears it again. We might be nitpicking, but why take it away? There’s no reason for it, but it just disappears.

NIGEL IS AN AMERICAN PELICAN WITH AN AUSTRALIAN ACCENT

We can understand why this choice was made, but it’s still an error in species. Nigel, the pelican who takes Marlin and Dory to the dentist’s office to save Nemo, is a Brown Pelican, a species only found in the Americas, not Australia. Australian Pelicans are much whiter and have a simpler color palette, so it was obviously a design choice and not really a flaw.

We still find it strange to know that Pixar intentionally used the wrong species for this particular setting. We just can’t shake it off. If you’re going to have The Great Barrier Reef and the Sydney Opera House, populate the environment accordingly, please.

MARLIN AND DORY SHOCKED BY THE JELLIES, NOT STUNG

We’re definitely calling shenanigans on this one because Pixar seems to be pulling from the Spongebob method to make their jellies intimidating. The scene with the jellyfish forest in Finding Nemo is both beautiful and chilling at the same time. So why make it silly by giving jellyfish tentacles that shock instead of sting?

Maybe it was to help visualize the idea that they were being stung, but did they have to go with electrifying sound effects? As interesting as it would have been for the pair to encounter an electric eel, that’s not what the filmmakers were going for. Not only is it a mistake for jellyfish biology, but it’s also just poor decision making.

HOW IS THERE LIGHT IN A WHALE’S MOUTH

We’re willing to admit this one didn’t hit us until recently, but how is there light in the whale’s mouth when Marlin and Dory are swallowed? Unless there’s a fixture lodged in the creature’s blowhole, we don’t think those waters would be as shimmering as they are. Beautiful animation certainly makes for a great distraction.

This is one of those mistakes that definitely went under the radar for many viewers, ourselves definitely included. Realistically, it should be pitch black in that whale’s maw, but we’re willing to let that go. We’ll chalk this one up to cartoon logic. At least it’s still visually interesting, right?

RANDALL IS LISTED BY HIS FIRST NAME ON THE SCAREBOARD

Here’s another one that took us a while to catch. In one of the beginning scenes in Monsters Inc., we’re introduced to the Scarefloor and the monsters who work it. All of their names are listed on a big screen, tallying up how many kids they scare. They seem to be all listed by their last name (i.e. Sully is listed as Sullivan), but if that’s the case, why is Randall still listed as Randall and not Bogg?

There is the possibility of another Bogg on the Scarefloor, but we’re willing to bet this was just a mixup from the filmmakers. It’s not a big mistake in the grand scheme of things, but it is one that can blatantly be seen. That plasma screen scoreboard isn’t exactly small.

THE VANISHING PAPER

This appears to be a common problem in animated films, but it’s one we certainly noticed. At times, things and objects in animated films have a tendency to disappear, and Monsters Inc. is no exception. If you watch closely when Mike and Sully leave their apartment, the newspaper thrown on their stoop vanishes after they open the door.

A nitpick perhaps, but one we had to mention. Perhaps they knocked it off with the door, but we’re chalking it up as yet another animated object disappearance. It’s not a big issue, but we’d be lying if we said we didn’t notice.

BOO’S POWER SURGE LAUGH

This isn’t so much as an animated mistake, but an inconsistency. We’re shown that Boo’s laugh is ten times more powerful than her screams in the monster world, but when she’s taken back to the factory later, her laugh is only powerful when convenient or comedic. Explain that one for us, Pixar.

Seriously, if her laugh is strong enough to cause a massive blackout elsewhere, why only a few lights inside the factory? Does the plant have some sort of reinforced laugh-proof structure? What is the science behind this strange power source? Pixar’s making us ask too many questions on this one.

REFLECTION DECEPTION

We’re calling animation error on this next one, but willing to admit only the sharpest eyes will notice it firsthand. When Hamm cuts the TV off after a commercial for Al’s Toy Barn blares, pay attention to the screen. If one looks hard enough, one will notice the absence of Hamm and Rex in the TV’s glass.

Maybe not the most grievous of errors, but with Pixar’s reputation for detail, it’s noticeable. Did Rex and Hamm briefly become vampires? Whatever the reason, take another look next time Al comes on TV.

NEGLECTING THE ALIENS

We might be grasping at this one, but we feel it deserves mentioning nonetheless. When Andy arrives home from cowboy camp at the end of Toy Story 2, he’s understandably thrilled when he sees the new toys waiting for him on his bed.  He’s eager to grab Jessie and Bullseye, but what about the Pizza Planet Aliens?

No joke, Andy straight up ignores them. This feels like a mistake, knowing how good Andy’s toys have it back home. It makes sense that we should see Andy play with the aliens as well right? Whether this is an animated mistake or just a wrong cut, we can’t let this one get by.

“WE’RE NOT PRESCHOOL TOYS, SLINKY”

This one is pretty funny when you think about it. When Buzz and company arrive at Al’s Toy Barn in an attempt to rescue Woody, Mr. Potato Head delivers this witty line.  No doubt something to be expected from the snarky spud. It’s funny, sure, but it’s also incorrect.

A similar line also occurs in the first film during the opening. “Ages three and up, it’s on my box.” Mr. Potato Head is a toy from Playschool, a brand that specializes in making toys for young children, namely preschoolers. Perhaps the folks at Pixar knew this and willingly threw the line in, perhaps not. Either way, we’re putting it on our list.

BUZZ LIGHTYEAR ON SNES

Toy Story 2’s opening is by far one of the best in the Pixar universe. Seems like Andy’s a bit of a gamer, shown from the classic Super Nintendo on top of his TV. But wait a minute, how is a SNES able to play a fully rendered Buzz Lightyear Video Game? Andy’s playing with much more than superpower.

Realistically, a SNES would never be able to handle a game of that detail. Buzz and Zurg should be various bits and pixels on that thing, but that’s the magic of Disney animation. It’s a forgivable mistake for the average viewer, but not for geeks like us.

BUG’S LIFE’S GIVES US THE BIRD

Pixar just can’t get its bird act together, can it? In A Bug’s Life, Hopper the grasshopper meets an adorable yet horrifying demise at the beaks of some baby birds. The issue is not the animation but the design of the chicks, and we have a few issues with this one.

First, the chicks are the wrong species, the bird is a Chaffinch and her babies appear to be chickens.  Second, the chicks are covered in down where their natural counterparts would be bald, and arguably more unsettling. Perhaps this was done to save time or due to technical boundaries, but it’s another obvious mistake that made it to the big screen.

GYPSY HAS MALE MOTH WINGS

Similar to the design choice for Kevin in Up, Gypsy the moth has some design choices that while creative and interesting are entirely incorrect. Gypsy is obviously a female moth, but only the males of her species have wings. Another factor worth noting is that though her name is Gypsy, she is not a Gypsy Moth, but rather a hybrid of a Buckeye Butterfly and a Polyphemus Moth.

We can understand taking some liberties in design to create more interesting characters, but that doesn’t mean we won’t point them out. That all being said, we enjoy her design and applaud the imaginative choices, it’s just not scientifically accurate as some would like.

SPOT THE DOTS

We’re not done with Gypsy just yet, folks. While our last point covered her beautiful but inaccurate design, this one calls out the inconsistency of her coloration, namely the spots on her wings. It’s a minor error, but one the OCD amongst us will definitely catch.

The spots on Gypsy’s wings change throughout the film. It’s a blatant inconsistency that we feel the artists really should have caught before finishing the film. Though we are willing to let this slide due to it being one of Pixar’s earlier productions, we’re definitely making it a spot on our list.

MOSQUITO ON THE SAUCE

Aside from the question of where an insect bar would get a source of blood to serve to mosquito patrons, the bar scene in A Bug’s Life makes a rather large mistake regarding its bloodsucking patron. As we all learned back in our fourth-grade science class, it’s the female mosquito that bites, and the voice from this tipsy bug is obviously male.

Sure, it’s funny to hear a mosquito order a bloody mary and see him fall on the floor sauced, but we’re still calling Pixar out on it. Was it really that hard to make a female mosquito? Artists, use those big imaginations of yours. If you can give a moth high-heels, you can make a female mosquito.

LOOK, I’M PICASSO

Admit it, we’ve all had a little cubist moment with our Mr. Potato Head. The famous line in the original Toy Story is funny and spawned a mildly popular meme. But there’s also a big mistake hidden just seconds away, maybe even a few frames.

Nearly immediately after the words “Ya hockey puck,” we cut to the toys getting ready for the staff meeting. In the corner, you can clearly see Mr. Potato Head’s face has rearranged itself. Unless that spud’s got some super speedy limbs, this is a mistake that made it into the film, no part out of place.