The 50 best Disney animated characters of all time

Disney’s most famous sidekick ever, Pluto the Dog’s place within the fiction of the company’s legacy characters is interesting. He’s an animal that, unlike the animals around him, can’t walk and talk, which means he’s stuck being the pet of a giant, talking mouse and his friends. That’s undeniably weird, but there’s something in the weirdness that’s always worked, from Pluto’s gangly design to his ability to say everything without speaking at all. [Matthew Jackson]

Quite possibly the most effective Disney sidekick of the 21st century, and one of the company’s most famous ever in terms of sheer pop culture impact, Olaf the living snowman has become ubiquitous in the near-decade since arrived in theaters. Josh Gad’s voice, the character’s pull-apart design, and his sense of sheer versatility have propelled him to a prominent role in the sequel, a Disney+ streaming series, a permanent place in toy aisles everywhere and, of course, an endless string of appearances in holiday lawn displays. Not bad for a little guy who just wanted some warm hugs. [Matthew Jackson]

The Cheshire Cat’s warning to Alice upon her arrival in Wonderland—“Most everyone’s mad here”—perfectly captures his persona: He’s mysterious, a little ominous, and completely untrustworthy. And he sells it all with that creepy, maniacal grin. Sterling Holloway’s playful voice acting in goes a long way in selling the Cheshire Cat as an unconventional sidekick who you don’t really want to stick around, but you also don’t really want to be without, either. [Jen Lennon]

As ’s resident “man-cub,” Mowgli (voiced by Bruce Reitherman in the original 1967 animated film) has to walk between two worlds, both emotionally and physically. He has to be a child of the jungle who’s also a scared little boy who doesn’t fully understand the rules of the world around him. Reitherman’s voice performance makes that work, but what really puts Mowgli over-the-top is the way his body seems to flop, float, and twist through the jungle like a near-indestructible piece of rubber. It adds to the sense of fun, which allows us to invest deeper in the drama of the story, a drama carried over into not one, but two live-action remakes. [Matthew Jackson]

How wonderful is it when Jasmine tells the Sultan, Jafar, and Aladdin to get bent when she discovers them trying to decide the course of her life without any input from her? “I am not a prize to be won” is one of the all-time great Disney princess lines. It’s a very obvious and conscious attempt to modernize the Disney princess trope, but it works because it’s perfectly in line with Jasmine’s character. Throughout , she pushes back against the constraints that society has placed on her, folding in an empowering message in a way that feels natural. [Jen Lennon]

Walt Disney’s flying elephant spends most of the that bears his name reacting to things around him. He’s scared and sad when his mother is taken away, heartened by the use of his magic feather, and ultimately exhilarated by the weight of his own experience. It’s a largely passive role, made more passive by the character’s lack of dialogue, but Disney and his team of animation legends still managed to imbue Dumbo with a deep sense of empathy, and a design that’s made him a Disney parks mainstay for decades. [Matthew Jackson]

After the success of Robin Williams voicing the Genie in 1992’s Aladdin, the filmmakers behind tried to replicate that experience by casting Eddie Murphy as the fast-talking comedic foil Mushu. But unlike Genie, Mushu was invested with a deeper characterization that made him more than just a funny dispenser of quotable zingers (though he is very funny). Similar to Mulan, Mushu struggles to feel accepted—in his case, by his ancestors, who always made fun of him and treated him as an outcast. By helping Mulan save her entire country, Mushu and his loyalty to his friend-turned-heroic warrior proved them wrong. “Dishonor on you! Dishonor on your cow,” indeed, Ancestors. [Phil Pirrello]

Captain James Hook was already a well-known villain from storybooks and stage productions by the time Disney got ahold of him. Taking cues from J.M. Barrie’s original creation, Peter Pan’s nemesis is a foppish pirate whose outward bluster and cutthroat disposition belie a cowardly nature. It’s hard to say who he hates more, Peter Pan or the Tick-Tock crocodile who swallowed his hand (and hungers for another taste). He’s a more overtly comical character in the animated feature, and that sense of fun has propelled him to appearances in other Disney realms, including TV shows, theme parks, comics, video games, and more. [Cindy White]

Minnie was unfortunately back-burnered for most of her career, standing either in or alongside Mickey’s shadow. In recent years, however, the character has rightfully stepped out from that bygone, problematic status to come into her own in various corners of the Disney Industrial Complex. But for die-hard Disney fans, Minnie was always more than just Mickey’s lady friend. The queen of polka dots, with Polka Dot Day being her day, Minnie has become a style icon thanks to her consistently headlining an event during Fashion Week. Disney heads have seemingly embraced her symbolic status and what she means to their young audience. Now if they would only give her a birthday that isn’t the same day as Mickey’s. [Phil Pirrello]

Disney fans all over the world have a great affinity for the characters from Pooh Corner, especially Tigger. This literal one-of-a-kind charmer, famously voiced by Jim Cummings, is one of Christopher Robin’s most likable and enthusiastic pals. Ever since his first appearance in the 1968 short, “Winnie the Pooh and the Blustery Day,” he has emerged as one of Disney’s most popular and timeless creations. A standout star on both TV and in video games, as well as serving as a prominent fixture at Disney Parks, this bouncing eccentric is truly one of the best things to come out of the house that Mickey built. [Phil Pirrello]

One of the most-remixed characters in popular fiction, Peter Pan has a lot going on inside his perpetually young head, and is no different. On the outside, he’s the constant adventurer, a boy full of boundless confidence with an endless appetite for fun, but there’s something in the way the character looks at the world, and in the way Bobby Driscoll’s voice performance informs that worldview, that speaks to something deeper. The film might not hold up as well as other Disney classics, but Peter himself still stands out as a boy out of time, caught between two worlds and longing for pieces of both of them. [Matthew Jackson]

It’s not necessarily easy to make a film in which a guy imbued with the strength of the gods can realistically struggle, but mostly pulls it off, and that’s thanks in no small part to the guy in the title role. As the straight man in a comedic film in which he’s surrounded by soul-singing muses as well as Danny DeVito and Bobcat Goldthwait, Hercules has to both join in the fun and convince us that he really is doing his best to live up to impossible expectations. A memorable character design and a solid voice performance from Tate Donovan make that possible. [Matthew Jackson]

Aurora (aka Sleeping Beauty, aka Briar Rose) is best known as the star of a movie featuring one of Disney’s greatest villains: Maleficent. But Aurora, with a memorable assist from Prince Phillip, is able to defeat the evil queen (and her dragon form) due in large part to the princess’ virtuous grace and kindness. Despite the doom and gloom that literally surrounds her, the heart of remains steadfast in her optimism that anyone can have the wonderful future they deserve—if only they are brave enough to keep dreaming for it. [Phil Pirrello]

subverts the Disney Princess trope by embracing its titular heroine’s action-hero ability to find a solution to any problem. And if she can’t find it, she’ll make one. The fate and destiny of characters like Mulan often fall in the hands of some male savior, but Mulan wisely (finally) breaks with that stale and limiting tradition by given us a lead character just as strong, vulnerable, and capable as the men who would usually play her rescuer. The stakes for Mulan couldn’t be more personal, and therefore more emotional, as she fights to both save her people and preserve her unique status among them. [Phil Pirrello]

The living personification of a conscience in , Jiminy Cricket is arguably more well known (if not more liked) among Disney fans than the titular star of the movie he appeared in. Given the top-hatted charmer’s earnestness and wisecracker personality, it’s easy to see why his mark on pop culture feels deeper than the wooden boy he calls a pal. Soon after his debut in Pinocchio, Jiminy joined Mickey Mouse and Tinker Bell as company mascots—as his signature song, “When You Wish Upon a Star,” became Disney’s trademark anthem for generations. [Phil Pirrello]

Kind of like the song “Uptown Girl” but much, much better, the 1955 classic uses that timeless formula of a privileged girl falling for a scrappy, fun-loving, on-the-streets guy who shows her, to quote another Disney staple, a whole new world. And nearly 70 years and countless cultural watershed moments later, the movie still hits, thanks to the sweet chemistry between our lovebirds, some stellar animation and scoring, and one of the most famous first-kiss scenes in cinematic history. [Tim Lowery]

1963’s is somewhat of an outlier in the Disney canon. It falls somewhere in the middle—not exactly beloved, or completely forgotten among fans—but most die-hard Sword In The Stone-rs agree that one of its most memorable and effective components is the character of Merlin. An avid believer in “brain over brawn” throughout the movie, Merlin’s practical philosophy serves in welcomed contrast to the movie’s more magical trappings. It’s fascinating that a wizard as powerful as Merlin expounds often to his mortal charge, the once and future King Arthur, that magic can’t solve all of humanity’s problems. Sometimes the best and most effective solution isn’t the wave of a magic wand, he reminds, but rather using one’s wits. [Phil Pirrello]

Pixar struck gold with the two-hander approach to storytelling with Toy Story’s Buzz and Woody. So it only makes sense that they would try to re-capture a similar dynamic in 2001’s , with Sulley and Mike. The former is like the Babe Ruth of collecting screams from children while the latter is his best pal sidekick/snarky coach. But it’s Sulley, with his now-iconic purple fur and gooey emotional center, who emerges as one of animation’s most interesting and likable heroes. With the help of the young human child Boo, Sulley realizes that even for a monster there’s more to life than trafficking in scares. [Phil Pirrello]

With Stitch, Disney delivered one of 21st-century animation’s most enduring troublemakers, a character who could believably be a villain but turns out to be both heroic and deeply loving in the end. But the creation of Lilo (voiced by Daveigh Chase) was arguably a tougher job, because she had to be both a cute little girl and a character capable of going toe-to-toe with both her big sister and a weird alien who may or may not be manipulating her as part of his prison escape. Lilo does all that and more, holding up her half of with ease. [Matthew Jackson]

is perhaps the ultimate mismatched romance, which means that the character of The Beast had to be Belle’s standoffish opposite from the beginning. But he also had to have the bearing, presence, and warmth to convince audiences that he was worthy of love in the end. Directors Gary Trousdale and Kirk Wise and the entire animation team achieved that with flying colors. From his tusks to his fangs to his blue jacket and, of course, Robby Benson’s lovably gruff performance, Beast remains one of the world’s favorite Disney princes for good reason. [Matthew Jackson]

Character deaths don’t hit you more square in the feels than Mufasa’s. ’s noble patriarch, King Mufasa’s regal presence is brought to life with a mix of flawless animation and gifted voice work from James Earl Jones. Whereas his son, Simba, just can’t wait to be king, Mufasa simply is. The movie endears Mufasa to the audience early on through his loving parenting, especially with Simba, which makes Mufasa’s death at the hands of his duplicitous brother, Scar (Jeremy Irons), all the more heartbreaking. Mufasa’s demise is the stuff of Shakespearean drama, which is fitting given that Hamlet inspired much of The Lion King’s story. But unlike that bleak tragedy, Lion King’s familial strife has a very happy and rewarding ending, as Simba ascends to be the ruler of Pride Rock—stepping out from his father’s considerable shadow to pick up where his legendary dad left off. [Phil Pirrello]

One of the many factors that contributed to ’s blockbuster success in the summer of 1994 was its young hero, Simba. Voiced as an adorable cub by Jonathan Taylor Thomas of Home Improvement fame, Simba emerges as an untested prince who is quickly overwhelmed by what it means to be king when he witnesses his father’s death at the hands of his treacherous uncle. What may be the darkest parricide ever depicted in an animated film (sorry, Bambi), the loss of Mufasa gives rise to Simba fulfilling his destiny to preside over his father’s vast kingdom. As cinematic origin stories go, they don’t get much more compelling or satisfying. [Phil Pirrello]

is an underrated 2009 entry into the Disney Princess Cinematic Universe. A lively, whimsical tale set during the Jazz Age, it centers on Tiana—a waitress and gifted cook in New Orleans who dreams of opening her own restaurant. The first Black Disney princess, Tiana is an inspired and inspiring character; a relatable and talented three-dimensional heroine—with hopes and dreams—who feels more grounded than her peers, despite the fact that her movie hinges on wish-making stars and a literal frog prince. Tiana’s journey as a young woman realizing and embracing her limitless potential presents a sobering truth to her young audience: “The only way that you can get what you want in this world is through hard work.” That’s not the usual messaging one finds in a Disney animated film, which just makes Tiana and Princess And The Frog all the more special. [Phil Pirrello]

If your heart doesn’t melt a bit each time the adorable (that is, Waste Allocation Load Lifter: Earth-Class) pronounces the name of EVE (that is, Extraterrestrial Vegetation Evaluator) as “Eva,” we’re … not sure what to tell you. This sci-fi romance, heavily influenced by the comedy of silent-era masters Charlie Chaplin and Buster Keaton, is what we talk about when we talk about emotionally deep and mature Pixar fare. It felt like an instant classic when it premiered back in ’08, and its reputation rightfully hasn’t waned since (see its recent Criterion edition for proof). [Tim Lowery]

Perhaps the most egregious instance of Disney altering source material to make it palatable for a family audience, bears little resemblance to its mythological inspirations. This version of Hades, with his blue-flame hair and sharp teeth, is a fictional amalgam of the Greek god, the Christian devil, and a used-car salesman. It pains us a little to admit it, but James Woods’ take on the god of the underworld as a wheeling-dealing Hollywood agent was inspired, babe. It’s hard to separate his performance from the character’s popularity, and from the actor’s recent behavior, though we’re going to try our best. Because Hades is too much fun to be ruined by his voice actor’s silly off-screen drama. [Cindy White]

Sebastian is far more than a sidekick, or standard-grade comedic relief—he’s a charismatic scene-stealer dedicated to finding fun and fanfare in what Ariel deems woefully mundane. As the oceanic conductor opines in his : “We in luck here, down in the muck here.” From Ariel to Ursula, living under the sea wasn’t a walk in the park for anyone—Sebastian was the perfect foil, a mentor keen on reminding those around him to find gratitude in the nebulous muck around them. [Hattie Lindert]

In the midst of a post-Renaissance slump, Disney Animation played with some new dynamics for its early 2000s roster of feature films, and those dynamics were arguably never more successful than the one at the heart of . The story of a Hawaiian girl and her alien best friend, the film was never going to work without both title roles landing exactly right, and thanks to an instantly endearing design and wonderful voice work from co-director Chris Sanders, Stitch holds up his end of the bargain. Two decades later, he’s still one of Disney’s most delightfully strange creations. [Matthew Jackson]

Billy Crystal’s voice always felt suited for animation, and it found a particularly effective home in the form of Pixar’s one-eyed, green, spherical monster. One half of a dynamic duo that also includes John Goodman’s Sulley, Mike Wazowski’s joke-a-minute cadence is elevated and perfected by Crystal’s performance, and the character’s overall design makes him an immediately recognizable ball of joy. It’s no wonder remains one of Pixar’s best-realized film efforts. [Matthew Jackson]

Proving that there really is such a thing as a good billionaire—as long as he’s fictional, and a waterfowl—Scrooge McDuck is far more than just his habit of swimming through ludicrous piles of wealth. He’s also one of Disney’s single greatest engines for adventure stories, an inveterate globetrotting explorer who prides himself on being “smarter than the smarties” and “tougher than the toughies,” while also having a surprisingly warm spot in his miserly heart for family. [William Hughes]

For the last 30 years, Pixar has tried to do what Bambi (voiced by Donnie Dugan) did 80 years ago: Teach children about death. And is there a more infamous cinematic death than Bambi’s mother? Still, while the first 15 minutes of may take up a majority of the conversation, the rest of Bambi’s adventure is just as instructive. For all the animated features about growing up, few do so as poetically and curiously as Bambi. Returning to the character at any age, one can still see the world through Bambi’s eyes as environments change, romance blooms, and tragedy strikes. They’re all part of life, and for many, Bambi is the first to teach it. [Matt Schimkowitz]

Anna of Arrendelle is, in many ways, a traditional Disney princess trapped in a decidedly non-traditional Disney film. Her “villain” is her beloved sister; her handsome prince is (incoming spoilers for a decade-old movie) a narcissistic psychopath. And the greatest challenge she overcomes (in , specifically) isn’t some magical curse, but the same weight of despair that threatens to crush anyone who’s ever lost a cherished loved one. “The Next Right Thing” may not be a cheerful anthem like “Whistle While You Work,” but it lays out the strength of Anna’s character beautifully, as Kirsten Bell memorably voices her attempts to live through grief: “Take a step… Step again…” [William Hughes]

A lot of great singers have come through the doors of the Walt Disney Company over the years, but few command the level of power that Idina Menzel wielded when she burst into song as Elsa the Snow Queen. But it’s not just “Let It Go” that made Elsa an icon. Her design, her place within ’s magical sisterhood, and Menzel’s ability to balance quiet, reserved dialogue with her phenomenal pipes all came together to make the character unforgettable. [Matthew Jackson]

There are a lot of Disney characters who fit the mold of “cuddly best friend,” but Baloo the Bear might just be the godfather of them all, even if he wasn’t the first. Originated by Phil Harris in , Baloo’s position as the resident relaxation expert in that film placed him among the most lovable characters in Disney history, but the slow-moving bear wasn’t done. With TaleSpin more than two decades later, Baloo reached a whole new generation of fans in a whole new genre, while never losing his warm, calming vibe. [Matthew Jackson]

Disney’s first Princess may be one of their least dynamic. Aside from being best friends with any and all enchanted forest animals and getting along well with the Seven Dwarves, there isn’t much to Snow White’s character outside of the formative surface characteristics that would provide the template for future Disney heroines. But if there’s one quality of hers that stands out, it’s how she embodies kindness—a noble trait that generations of young audiences have embraced ever since premiered in 1937. [Phil Pirrello]

The song says it all: “If she doesn’t scare you, no evil thing will.” This distinctive villainess even has the words “cruel” and “devil” right there in her name. What else would you call a vain, greedy fashion designer who kidnaps a litter of puppies so she can make a coat out of their hides? (We’re going to pretend the live-action retcon of the character never happened.) Legendary animator Marc Davis was inspired by a combination of Betty Lou Gerson’s dramatic vocal performance, stage actress Tallulah Bankhead’s mannerisms, and model Mary Wickes’ physicality in designing the character from , who can go from glamorously aloof to positively crazed in an instant. It turned out to be a winning recipe for creating one of the best villains of all time. [Cindy White]

Look, you’d sigh all the time too if you spent every day of your patchwork life putting up with Tigger’s high-volume bullshit. In a Hundred Acre Wood where everything is nigh-relentlessly nice and sunny, Eeyore the donkey is the cloud we all feel from time to time, that little voice that dolefully mutters “Thanks for noticing me” as our friends try to cheer us up. And yet, there he is, every day: Rebuilding his crappy, constantly-falling-down house, and showing up for adventures. Walt bless you, little guy: Here’s hoping the tail stays on this time. [William Hughes]

The debate over just what the hell is Goofy—Dog? Man? Both?!—will rage on long after we shed our mortal coils, but that’s just a testament to Goofy’s legacy. He’s been a load-bearing column of Disney’s empire since his first appearance in 1932’s Mickey’s Revue, thanks to his slapstick brand of comedy and “aw shucks” good nature. Goofy peaked in 1995 with his underrated solo film, , which elevated the supporting player to leading man status in this charming, and (obvi) goofy animated musical comedy. A Goofy Movie spawned a film series that millennials still revere to this day—not bad for a guy that was originally conceived as a one-shot character named Dippy Dawg. [Phil Pirrello]

It’s rare for the comic relief character in a Disney animated film to also be its beating heart, but Dory pulls that feat off effortlessly in the Pixar classic . What she lacks in short-term memory she more than makes up for with her loyalty to Nemo, as she helps the little fish find what she doesn’t have: Family. “Just keep swimming” is more than just her mantra, it’s the thematic summation of the entire Oscar-winning film. With her hilarious dialogue and tragic backstory that makes it impossible for audiences not to root for her, Dory steals the movie while becoming one of Disney’s all-time best characters. [Phil Pirrello]

Every cowboy needs an outlaw, and Sheriff Woody’s is a spaceman. The perfect foil for Woody’s existential crisis, Buzz has been somewhat devalued in recent years due to misfires like . His features might be a little dated by modern standards, yet Tim Allen’s stern confidence and hilarious delivery (“You see the hat? I am Mrs. Nesbitt” is still the funniest joke Pixar ever produced) keep the character fresh and exciting. For as important as “When You Wish Upon A Star” was to the Disney past, “to infinity and beyond” became the de-facto slogan of Pixar, with Buzz’s mid-century futurism embodying the promise of Tomorrowland better than the movie that bears its name. If Cinderella is Disney’s past, ‌Buzz Lightyear represents its future. [Matt Schimkowitz]

Not only is Maleficent one of the best-designed animated villains ever in her original form—all severe lines and sharp angles, with the color scheme of a badly healing bruise—but when she transforms into a freaking dragon she’s even more intimidating. That’s two awesome villains for the price of one. She’s got the coolest accomplice too, a raven familiar named Diablo. As the powerful evil fairy who puts the “sleep” in (though it would be far worse if she had her way), Maleficent’s impact on the story is indelible. All because she wasn’t invited to one little christening party for a princess she didn’t even know. That’s spiteful on an epic level. Her plan for Prince Phillip is even more twisted. She locks him in a dungeon and intends to keep him there until he’s too old for Aurora, who will remain 16 for as long as she’s under the sleeping curse. The main lesson of the film should be not to piss off sorceresses with vindictive streaks. [Cindy White]

More than three decades after its release, remains a marvel of animation achievement, a beautifully orchestrated fairy tale that’s still considered one of Disney’s best. A big reason why is Belle, the Disney princess who blends compassion and strength with such skill that she enters a magical realm closed off from the world she knows, and is able to make it entirely her own. From Paige O’Hara’s voice performance to the character’s costuming choices and deeply expressive design, Belle is still a wondrous piece of animated power. [Matthew Jackson]

Sometimes, the right voice changes everything, and when Disney tapped Robin Williams to play the comedic sidekick in , they changed the whole landscape of animation in the process. Williams’ unforgettable performance— still just as good or better than many of his best live-action roles—and indelible presence made Aladdin a megahit, and inspired generations of established celebrities in comedy and beyond to get into the recording booth for some voice acting of their own. [Matthew Jackson]

The Disney Renaissance kicked off in 1989 by introducing fans to one of animation’s most beloved and iconic Disney Princesses: Ariel. Gifted with a beautiful voice—but burdened with a desire to be part of our world, despite her mermaid trappings—Ariel is torn between living under the sea and where the people are. Her Faustian bargain with the cruel sea witch Ursula leads to some of Disney’s most vivid musical numbers and visuals, however, as Ariel learns the whole “be careful what you wish for” thing. Thankfully, that lesson comes with a brief sojourn on land (free of fins) and a forever happy ending. [Phil Pirrello]

Although the upcoming slasher paints a painstakingly different picture, Disney’s Pooh embodies so much of the whimsy, bumbling uncertainty that defines childhood, and lingers throughout life. Although he wasn’t the most dramatic nor the loudest of the coalition that called the Hundred Acre Wood their home, even Pooh’s simplest musings—from the nonchalant acceptance of “Oh, bother” to the unabashed self-acceptance of “I am short, fat, and proud of that”—felt eternally wise and purposefully instructive. [Hattie Lindert]

Scar, exquisitely voiced by Jeremy Irons (channeling his Oscar-winning role as Claus von Bülow in Reversal Of Fortune), is a classic example of a memorable character design meeting inspired casting. Irons relishes the hell out of every scene in , bringing Shakespearean theatrics to moments like King Mufasa’s tragic death. Who can forget him menacingly quipping, “Long live the king,” as he digs in his claws and then tosses Mufasa to his death? He even gets a big musical number in which he gets to sing the line, “Yes, my teeth and ambitions are bared. Be prepared!” Simply iconic. No notes. [Cindy White]

Mickey Mouse is 95 years old, and while he doesn’t have the same cultural hold now that he did in his heyday, he still might be the most famous cartoon character of all-time. Not bad for a guy who started out as a replacement character for Walt Disney and Ub Iwerks’ Oswald the Lucky Rabbit. With an iconic look splashed across Disney’s entire empire, an unforgettable voice, and a warmth that has persisted through decades of design changes, Mickey remains an enduring pop culture juggernaut. [Matthew Jackson]

The standard bearer for all Disney princesses, (voiced by Illene Woods) encapsulates the entire Disney dream in her brief 75-minute animated classic. Her rags-to-riches story of footwear folly remains a Disney animation high-water mark, creating a host of tropes that would become staples of imagination. Fairy godmothers, evil step-sisters, and Prince Charming would all become powerful icons of the animated fairy tale, but only one character can claim them as her own. That she does all this and still retains potency is the magic of Disney and, more importantly, the character. No wonder her castle precedes every Disney movie to this day. She is the Disney princess. [Matt Schimkowitz]

There are so many with ’s Sheriff Woody (voiced by Tom Hanks), that it’s easy to miss his most striking feature: His personality. Sure, he’s the perfect representation of outdated cultural trends at the onset of a new entertainment revolution, but Woody’s also a downright unpleasant character. He’s condescending to the toy box rank and file, fearful of outsiders, and downright cruel to those who threaten his status. Over four movies, though, Woody’s evolution from ornery pull-string cowboy to caring playmate is one of the series’ most accomplished tricks. Every time Pixar pulls him out of the toy box, the dream factory finds new ways to play. [Matt Schimkowitz]

Say what you will about Ursula the Sea Witch from , you’ve got to admit she had style. All she really wanted was to complete her fabulous ensemble with a necklace (containing the voice of a certain mermaid princess), a crown, and a trident. The fact that these baubles happen to come with the incidental perk of ruling the entire ocean is just a bonus. She positively lives for helping poor, unfortunate merfolk who have nowhere else to turn. Her magic may come at a steep price, but she always gives her clients a choice. And with the help of her hench-eels Flotsam and Jetsam she has eyes everywhere, so it would be wise not to get on her bad side. Not that she has one, darling. [Cindy White]

Nobody likes a winner—those smug, smiling bastards for whom everything seems to naturally go right. And so, let’s raise a toast to Disney’s great born loser, Donald Duck. A victim of circumstance, but more often just a victim of himself, Donald is the apoplectically angry heart of Disney’s animated canon, an obnoxious, hilarious, greedy, jealous, and above all else relatable collection of deeply human foibles existing primarily to serve as the plaything of an uncaring universe. Gifted with one of the great “don’t try this at home” voices in animation history (provided for 50 years by Clarence Nash, and now by Tony Anselmo), Donald is the all-important drip of bitter pettiness that keeps the whole Disney stew from turning more saccharine sweet than it already is. In a universe of smiling victors, he’s the guy who gets the perpetual short end of the stick: It makes his rare wins all the more satisfying—and his near-constant failures a hilarious and necessary part of the Disney cartoon machine. [William Hughes]