Emotions tend to be grey rather than black and white, allowing us for example to be happy that school is ending for summer vacation but also giving us a twinge of sadness that it’s over and we won’t see our friends for months. This mixture of emotion is very real – think of every day examples like “bitter sweet” or the “I hate you, but I love you” perimeters surrounding just about every angst filled pre-teen relationship. Sadness touches a happy memory of Riley’s, turning it blue “Inside Out” uses nostalgia as a clear example of how emotions can often be combined rather than singular – again think back to Riley reminiscing on the sadness of her loss but the love she felt from her family. On that note – emotions aren’t always singular but can often be combined. We then learn that only with the acceptance of Sadness can we truly process our emotions and grow.ģ. Though she originally is asked to stay confined and holed up, by the end of the film Joy is actually passing Sadness memories to hold and change. Riley didn’t need to be forced or told to be happy – she actually just needed to be allowed to be sad. Only by remembering the sadness she felt when she lost a hockey game can Riley also reminisce on the love and support she received from her family and friends afterwards.
Our intentions may be good, but “Inside Out” actually emphasizes the importance of Sadness.
In Western culture we spend a great deal of time and energy in the pursuit of happiness and often encourage those around us to be happy rather than to “wallow” in sadness. The entire plot of “Inside Out” orbits around the juxtaposition of Joy and Sadness, with Joy constantly trying to suppress Sadness. At one point in the film Joy even orders Sadness to stay within a hand drawn circle on the floor of the control room (“don’t touch ANYTHING!”). Joy holds Riley’s core memories, not allowing Sadness to touch them
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