He’s presented as a guy who is outwardly confident and competent, and skeptical of the need to study - relying instead on innate ability - effectively the mirror opposite of Mike. Is Mike a guy who learns to overcome his lack of innate skill through smarts? That persistence pays off? That he needs to team up with someone who can really do it? Sully without indicating how he overcame his (apparent) failings. The subsequent postscript shows his climb (along with partner Sully) within Monsters Inc. Later, while in peril in a human-world summer camp, Mike seems to use his brains rather than his ability to scare, an effort that creates the loudest screams ever - but he’s expelled from the university anyway. During the decisive moment of the Scare Games, Mike’s performance is shielded by a cheat perpetrated by his co-protagonist, Sully. Unfortunately the movie’s handling of that arc is muddy. It’s a classic setup for the character to learn one lesson or another - to accept his limitations or to overcome his inability to transfer his book-learnedness to actual real-life performance. He proves to be a terrific student, though as the story progresses, doubts are raised about whether he really has it in him to be scary.
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We are first introduced to Mike (after a bit of grade-school pre-history) as a likable college freshman, full of energy and wit and excitement about realizing his lifelong dream of becoming a scarer.
The result is a bit of a tangle, which quite possibly arises from the challenges of the current Hollywood story development process. Baird and Dan Scanlon, directed by Scanlon), the storytellers double down on it, working out character arcs for twin protagonists. In Monsters University (written by Dan Gerson, Robert L. The storytelling maestros at Pixar have in general embraced the classical American model, most clearly in Finding Nemo, Toy Story and Up. Indeed, the model became so prevalent in television half-hour comedies that by the late 1980s there arose a counter-movement against it, exemplified by the likes of Married: With Children, The Simpsons, and Seinfeld, whose characters never, ever learn anything and adamantly don’t grow from their experiences or address their flaws. With significant exceptions, American filmmakers have embraced this pattern over the years. In the above example: overcome your fears.
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Using this approach, apprehending the theme of a movie is relatively easy: it’s a simple, universal truth that the character learns as the arc is completed.
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