Fridge / The Brave Little Toaster

Heh, heh, "Fridge"

Fridge Brilliance
  • It seemed strange to me that Lampy (who would naturally be "bright") was such an air-head. Then it hit me - he's always curious and interested. He doesn't have answers, he has questions. It's questions, not answers, that make you bright!
    • Unless he actually is an air-head. What fills most of the space in a lamp-shade?
  • I had to be watching a review of this movie to see this one. Toaster throws a box onto the floor and stands on it to give a Rousing Speech. It's a soap box, Toaster literally stood on a soap box!
  • When the appliances arrive in the city, Toaster has some trouble reading the phone book and asking for directions to Rob's house, so Lampy reads it instead. Perhaps all the time Rob spent reading by lamplight taught Lampy to read.
  • The now obsolete 80's appliances mocking the main characters for being "outdated", when actually the heroes are the type of appliances that last for many years whose functions would still be useful today. Many people still use twenty (sometimes even FIFTY) year old toasters, lamps, and vacuums. Compare that to how often you have to update and replace your computer, television, mobile phone, etc...
  • As a kid, it may be confusing when the Appliance Shop characters suddenly break into a song about old monster movies. An an adult it's easier to see that they're probably trying to make Toaster and the gang feel better about the situation with black comedy humor.
    • On another level, it refers to movies like Frankenstein, about a monster created from body parts from different humans (and even some animal parts). Similar to Frankenstein's monster, the shop's appliances are presented as monstrous and subhuman/sub-appliance, while Frankenstein/the shopkeeper is (at least initially) unaware of his folly, blinded by his idealism.
  • The flower that falls in love with its own reflection in Toaster's chrome plating looks vaguely like a daffodil, which is a member of the Narcissus family.
    • Also, Thomas M Disch's poem Echo and Narcissus was his first published poem, back in The '60s.
  • Many people were probably annoyed by Blankie's neediness and tendency to cry at the drop of a hat. But he was characterized that way for a reason— he's an electric blanket, an object whose very reason for existence depends upon cuddling close to someone and keeping them warm.
  • Similar to above, the reason that Kirby is so grumpy and reluctant is probably based of his relationship to "the master". Vacuuming is a chore, and what do kids hate more than chores? Any interaction was probably very reluctant on the kids part, which rubbed off on Kirby.
    • Not to mention the fact that while the other appliances could still perform their intended duties (vacuuming, playing music, lighting the room), Blankie had absolutely no way to fulfill his purpose. Which is probably why Toaster became so affectionate towards him later. Blankie had nobody to cuddle with, and Toaster had no bread to toast.
  • The characters sure have lazy names, don't they? I mean, Lampy? Blanky? It's like a little kid came up with them...which he did. Rob probably gave each appliance a name based on what it was. As for Kirby, well, Kirby is an actual brand of vacuum, so maybe Rob saw the name "Kirby" on it, and assumed it the vacuum's name.
  • When the Toaster is getting up on its literal soap box, it's standing in a beam of sunlight while the others are in the shadows. As it wins them over, they get closer to him, effectively "coming into the light" about it's plan. Kirby, the most curmudgeonly of them all, only gets a tiny corner of himself into the light when he begrudgingly agrees, and before that, he retreats into the shadows when he calls them insane.
  • Why is Kirby such a grouch? Because a vacuum's job is to hold unpleasant things inside!

Fridge Horror
  • The whole premise of the movie is household appliances trying to brave nature. It has everything trying to kill them because they're entering a world they were literally never designed for.
  • During the montage of ways to travel, one of the suggestions is riding in a refrigerator on a skateboard. Cue the scene, and you see them crash said refrigerator. Did they just enlist one of their fellow appliances and kill them?
  • The Monster Clown in Toaster's dream whispering, in a sinister voice, "Run." You don't normally tell someone you want to kill to run away from you. Considering that he has a massive, evil grin on his fact the whole time, it's clear that he's not just trying to kill Toaster, but takes sadistic glee in doing so, part of which is watching Toaster try in vain to get away.
  • "Worthless" is loaded with it, with some bits more obvious than others.
    • We get to see one car's steering wheel frantically turning back and forth as it gets fed into the crusher, as if the car's trying to escape.
    • The "Zuma to Yuma" car's verse suggested that it "had a hand" in some kind of fatal crackup, maybe due to mechanical failure, since it has bad frontal damage and its owner's surfboard was still attached. Watch the scene again, and you notice that said surfboard has a giant bite mark in it.
    • The Texan car's driver either got cold feet on the way to his wedding, which is bad, or became distracted, took a turn at the wrong time and crashed, which is worse. Which becomes Nightmare Fuel when you realize that the vehicle behind the Texan wedding car is a hearse and they are crushed together.
    • The final and most unambiguously depressed car drives itself into the crusher and then waits calmly for death. Even the Magnet seems a little taken aback by it. Either it was suicidal or it preferred to die in a dignified manner on its own terms, rather than be picked up and tossed in. Or the car is actually trying to escape the Magnet, but despite his efforts gets caught off-screen. This doesn't bode well for Toaster and his friends, who are also mobile, but are assumedly a lot slower than that car.
      • Considering how the blue car and green truck both met their ends - the former with no resistance whatsoever, the latter actively going into the literal jaws of death - it's an unnerving thing to think a Disney song began and ended with what was essentially two suicides.
    • The translation of Worthless in the Swedish dub manages to be even more horrifying in parts. The wedding car bit goes like this: "Drove a couple to a wedding/Drove a couple to a wedding/But both the bride and groom disappeared/Before anyone could figure out what happened", and the final line of the hearse is (to rhyme in Swedish) changed to "The world is filled with misery". The closing lines of the surfer's car manage to be fairly nihilistic too - starting with "Pico, let's go up to Zuma" it goes something like (some parts are hard to hear) "The whole world will burn/The whole world will burn/Everything's going up in smoke/We've tried to make it stop/But how are we going to make time". The Indy 500 car gets a fairly depressing spin too, where he in the original wonders how well he did, in the dub he seems to heavily be expressing disbelief at the way he was thrown away after winning a lot of races.
  • The Danish dub also has a few darker moments. The Indy 500 car isn't "impressed how he did" and never mentions his place in the race, meaning he has no idea whether he was even in the running for victory or not. The car that lists a lot of american cities it visited instead sings about how awesome his life was and how loved going fast and is crushed right after such an optimistic statement, almost like he's in denial. And finally, the hearse gets these lines: "I've driven so many people to their graves /Death, to me, is a soothing song for my soul / For my time as a hearse was tough on me".
    • "Worthless" becomes much more horrifying when you realize that the cars' stories and the overall despondent tone of the song can easily be applied to humans that are past their prime and no longer have a place in society. The blue car is a simple sedan—the exhausted, depressed employee, whether office or blue-collar. The pink convertible is an aging valley girl, the red Corvette is a drifter/musician with no place to call home, and the Indy car is an injured athlete who's been dumped by fans and supporters. The wedding 'limo' and hearse seem to be more symbolic than metaphorical, but could relate with bridesmaids and pallbearers—escorts whose importance ultimately pale in comparison to who they escorted. The wood-sided wagon represents beach bums who 'never amounted to anything,' and the green pickup is not hard to line up with a reservation elder who has been marginalized and ignored. This gets even worse when one thinks about the non-singing cars like humans as well. They're all old, worn down, and broken, brought to the junkyard to be thrown into a crusher and destroyed. It seems like they have been tossed into a mass grave...
    • On an even darker note, consider that the junkyard is where old machines go when they have outlived their usefulness, waiting to be crushed into cubes. Now consider that for some people, a retirement home could be seen as the same sort of thing: A place where the "worthless" old people go to wait for death. It's no wonder so many elderly people dread the thought of living in such a place.
  • Considering that Blender's motor was very much like his "brains" and that they were scooped out of his case which was (off camera and presumably) transferred to another blender, wouldn't that be like an appliance brain transplant? A horrifying thought indeed! Makes seem a little more horror movie-ish.
  • Peterson's appliance shop. In the scrapyard, the cars are at least 'killed' quickly; in the shop, they're slowly torn apart, built into other things, and sold part-by-part. It's the appliance version of a death camp.
    • And now you see the horror implications in "It's a 'B' Movie" and see a fun extra layer. The light, the only untouched appliance, is just as scarred as the rest. He didn't just know what happened, didn't just see what happened, no, he got to forcibly be used to make it happen more easily and was completely incapable of even attempting to escape as it was done daily. At absolute minimum. Being Forced to Watch could drive anyone to laugh at it all.
      You can't go out! You are out of your mind!
  • All of the appliances are sentient. Now just think of how many times you perhaps dropped your portable gaming device, or about appliances that are left in a move, or heck, whenever something runs out of batteries it would mean that it died before being brought back to life multiple times. Then there's all things that are just scrapped for the copper and etc inside of it. How about those appliances you never use and are half broken? And then there are some appliances that wouldn't be able to move, forever pinned down in one spot until they eventually run out of juice and die.
    • In that case, imagine what must be going through the heads of Jory Caron's microwaves as they're forced to microwave things that should never be microwaved...Including other appliances and other electronic devices.
  • This goes with the Magnet...they are usually controlled by someone at the controls. Now...when it's going after the heroes, how is the man or woman operating the magnet's central control responding to it? I mean, it's likely not doing this BECAUSE they are getting away, the person in charge of the magnet can't know that. And when it unloads a whole bunch of stuff onto the conveyor-belt to smash, the people who work at the junkyard should be confused at what's going on. And then when Rob gets on there...I can only imagine that the people who operates it could at least SEE someone dangling by a vacuum, be horrified and try to stop it, and maybe even try to tell his/her manager. WE never see this person, but sometimes...we can only imagine...