Should a third installment of Inside Out ever hit the screens, and it turns out Riley Andersen’s (played by Kensington Tallman) anxiety intensifies, then her chaotic dream realm might just be the culprit. In a bold move, Dream Productions may be the first Disney project to suggest that the negative aspects of Hollywood studio culture are mirrored within our own mental “mini studios,” contributing to a cycle of dysfunction.

This mockumentary-style miniseries, positioned between the original Inside Out and its sequel, was developed in conjunction with the latest film, allowing animators to delve deeper into the well-loved characters and settings. Presented as a subplot in Riley’s life, Dream Productions offers more insights into her adolescence. However, its premise—that our dreams are crafted by a whimsical and ruthless brain-based “studio”—might soar over the heads of its younger audience. Moreover, it somewhat deviates from the series’ central tenet that Riley’s Emotions are her staunchest supporters.

Now at 12 years old and on the brink of her teenage years, Riley faces heightened embarrassments and social puzzles. Joy (voiced by Amy Poehler) and the other Core Emotions, brought to life by the recent film’s cast, watch over the adventures of the dream director Paula Persimmon (voiced by Paula Pell). Resembling a purple Minion, Paula and her enigmatic team of creative entities produce “mind movies” that they hope will impact Riley’s waking decisions—spurring inspiration or, in less favorable scenarios, causing disturbances or nightmares.

While Paula has historically excelled in her role, the complexities of Riley’s tween years challenge her creativity, pushing her to recycle old hits like the beloved Rainbow Unicorn toy. These less inspired dreams pave the way for fresh perspectives from her vivacious assistant director, Janelle (Ally Maki), and the innovative daydream director, Xeni (Richard Ayoade), who is also the nephew of Studio Head Jean Dewberry (Maya Rudolph).

The series encapsulates Paula’s frantic search for new, relevant dream themes to maintain her standing within the studio. Laden with industry jokes and visual gags, the content might best be appreciated by those familiar with film production nuances, appearing almost as an inside joke for Pixar employees.

Unlike the more benevolent Joy, Paula’s character lacks a certain warmth and focus on Riley’s interests. Her willingness to sideline Janelle’s ideas and plagiarize Xeni’s innovations raises questions about the suitability of such cutthroat competition as a foundation for a Pixar series. Additionally, the portrayal of excessive egos and rivalry might not resonate well with younger audiences. Despite the eventual moral lessons, the conclusion struggles to fully redeem the series’ earlier focus on competitive sabotage over more wholesome themes of personal growth and emotional exploration.

Nevertheless, the series includes some standout musical pieces that capture the magic of memorable dreams. Also, the innovative portrayal of dreams impacting Riley’s consciousness—where the camera represents Riley’s viewpoint—adds a layer of originality. Additionally, the series features some humorous dream sequences, including an ’80s style dream influenced by David Lynch and The Cure, and another that mimics a Canadian romantic comedy, showcasing Ayoade’s unique comedic delivery and Xeni’s distinctive appearance.

Overall, Dream Productions introduces a compelling concept that occasionally gets sidetracked by its Hollywood-esque setting and mockumentary style. The focus on studio politics and personal ambitions sometimes overshadows the central theme of exploring Riley’s subconscious, veering into a narrative that might remind viewers of a subdued version of Robert Altman’s The Player.

Dream Productions is set to premiere on December 11 on Disney+.