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In one of the opening scenes of 鈥淭oy Story 5,鈥� Jessie 鈥� a cowgirl doll 鈥� tries to find out why the twins who live across the street never want to play with her owner Bonnie. What she finds, when she peers through the window of the neighbor鈥檚 home, is the two young children on a couch totally absorbed in their tablets, ignoring each other and oblivious to everything around them. 

Appalled, Jessie turns around to find the twins鈥� discarded toys in the yard, looking worn and weary. 

鈥淲hat happened to you?鈥� Jessie asks them. 

鈥淭ech,鈥� the toys reply in unison. 

These toys explain to Jessie that, for years, technology has been 鈥渋nvading鈥� homes, capturing kids鈥� attention and effectively ending imaginative play. 

鈥淵our kid still plays?鈥� one asks. 鈥淚 don鈥檛 remember play.鈥�

Jessie is skeptical, so they prove it to her: The toys climb to the roof of the twins鈥� house and look across the neighborhood, where they can see the blue light from screens glowing back onto children鈥檚 faces through each window.

鈥淣o wonder she can鈥檛 make a friend,鈥� Jessie says, referring to Bonnie. 鈥淪he鈥檚 the only one out there still playing with toys.鈥� 

It鈥檚 the type of exchange that stays with you 鈥� perhaps because, when depicted in a fictional animation, it鈥檚 clear just how representative it is of our current reality. 

The latest film in Disney-Pixar鈥檚 multibillion-dollar Toy Story franchise, which was released on June 19 and pits traditional toys against digital technology, comes at exactly the right time, multiple child development and media experts said in interviews. Children, even in their early years, are awash in screens and devices, and their overwhelmed parents often don鈥檛 know how to go about establishing guardrails 鈥� or what those guardrails should even be. All of this comes as AI is emerging as a threat to children, now embedded in toys and being used to generate videos that are served to children on YouTube without any real quality checks. Meanwhile, a chorus of critics 鈥� from the to the of one of the largest teachers unions in the country 鈥� are adding their concerns to the conversation.聽

鈥淚 think this is one of the most important issues of our time. I really do,鈥� said Kathy Hirsh-Pasek, a professor of psychology at Temple University and senior fellow at Brookings Institution who studies child development. 

鈥淲e are at this inflection point,鈥� she added, 鈥渨here we actually have a technology that has the capability, if used incorrectly, not just to captivate kids鈥� attention but lessen kids鈥� attention. It takes away human-to-human interaction by displacing time and their imaginations.鈥�

Indeed, 鈥淭oy Story 5鈥� addresses exactly that. Soon after Jessie learns what鈥檚 been happening to children all over the neighborhood, 8-year-old Bonnie gets a tablet of her own, a frog-shaped device called Lilypad. 

Lilypad instantly grabs hold of Bonnie鈥檚 attention. Bonnie 鈥� a child who had previously relished in the rich stories and scenes she鈥檇 created with her analog toys using just her imagination 鈥� becomes zoned out, using the device day and night. She forgets about her beloved toys and the worlds she had dreamed up for them. 

Bonnie鈥檚 parents bought her the device in hopes that it would help her make friends. After all, everyone else her age seemed to be using one. While Lilypad does help Bonnie connect with her peers through a group chat, she soon learns that鈥檚 not quite the same thing as finding a true friend. After getting invited to a sleepover that goes all wrong, Bonnie finds out that digital connection is no replacement for authentic human connection. The child becomes more and more despondent and detached as the film progresses, leading her toys 鈥� Jessie, Woody, Buzz and the rest of the gang 鈥� to take charge on her behalf. They want to oust Lilypad and also help Bonnie make a real friend. 

The movie portrays technology as a force that can come at the expense of human relationships, which is often what experts warn about when it comes to children and screens. 

鈥淲e see human displacement as a very real threat,鈥� said Michelle Culver, founder of the Rithm Project, a nonprofit working to reclaim and evolve human connection in the age of AI. So she loved that 鈥淭oy Story 5鈥� was, in many ways, 鈥渁 celebration of friendship.鈥� 

Dana Suskind, a pediatric surgeon and author of the forthcoming book 鈥淗uman Raised: Nurturing Connection, Curiosity and Lifelong Learning in the Age of AI,鈥� felt the movie did a good job of demonstrating 鈥渉ow screen time can erode creativity and connection and lead to bullying.鈥�

鈥淓ven though the movie is about tech,鈥� Suskind said, 鈥渋t鈥檚 probably about something deeper that we鈥檙e all grappling with: the desire and the need for human connection, the important role the early years play in navigating human relationships and learning how to have relationships.鈥�

Suskind saw 鈥淭oy Story 5鈥� the day it came out. She went with two colleagues at the TMW Center for Early Learning and Public Health at the University of Chicago, including Liz Sablich, who brought her two young children along. 

Sablich鈥檚 7-year-old son Jack had some astute questions and observations about the film later that night, after taking some time to process what he鈥檇 seen, his mom said. One of the first things he said, Sablich recalled, was that Bonnie seemed 鈥渉ypnotized鈥� by her device 鈥� that was the word he used. 鈥淚t was like she worshipped it,鈥� Jack told his mother. 

Sablich agreed and explained that some technology is actually designed to do that. Jack wanted to know why. When she told him that, in some cases, the more a person uses the technology, the more money a company makes, he became visibly upset and said, 鈥淭hat鈥檚 not right. That鈥檚 not fair. They should care more about the people.鈥� 

Jack was also perplexed that Bonnie kept her device in her bedroom, right next to her bed, at all times. (Jack is only permitted access to his tablet during travel, Sablich said.) He said he never wanted to use his tablet again and didn鈥檛 want his mom to use her phone. Sablich used that opportunity to explain how technology can work for and with us, too. For example, she was able to use her phone to arrange a play date for him the next day. 鈥淲e can use it in limited ways to make it easier to play with friends and do things in the real world,鈥� she told him. 

鈥淚 was pleasantly surprised by how straightforward I thought the message of the film was and that it sparked such an important conversation,鈥� Sablich said. 

That鈥檚 exactly the type of dialogue experts are hoping the film will prompt. 

鈥淲e have to get this in the national conversation,鈥� said Hirsh-Pasek. 鈥淭he group that鈥檚 being left out of the national conversation is little kids, the 0 to 10 crowd.鈥�

The film is giving families and young children an opportunity to 鈥減ause and reflect,鈥� said Sunny Xun Liu, director of research at the Stanford Social Media Lab 鈥� and to ask some important questions.

鈥淲hat are our values as a society for technology, especially for such young children?鈥� Liu said. 鈥淲hat values should we hold together as a community and a culture about technology and screens? It gives us opportunities to think about this topic as families, communities and a society together.鈥�

That Disney, a powerhouse media brand trusted by millions of American families, opted to tackle this topic at all was 鈥渂old,鈥� Suskind said. Michael Levine, an early learning expert with more than two decades in the field of children鈥檚 media, called it 鈥済utsy.鈥�

鈥淭he fact they鈥檝e responded to the cultural moment 鈥� is really smart and, I think, brave,鈥� he said. 鈥淗ats off.鈥�

Culver, at the Rithm Project, was impressed by how much 鈥渄imension鈥� the movie had on the topic of technology, showing that, in addition to the harm devices can do, they can also help bring people together when used appropriately. 

鈥淭here鈥檚 always the opportunity for good,鈥� Suskind noted. 鈥淚t鈥檚 whether or not we make the design choices that actually allow it. I think Disney tried to show that.鈥�

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