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All 23 Pixar movies, definitively ranked

May 16, 2022 | News | No Comments

Since the release of its very first feature film, Toy Story, in 1995, Pixar has become one of Hollywood’s most celebrated animation studios. Ranging from superhero adventures to tales of a lonely robot on a post-apocalyptic Earth, the studio’s 23 movies to date have earned plaudits for being artistically adventurous and telling stories ostensibly aimed at kids that have just as many adult fans. Even Pixar’s lesser works usually have something to offer.

2020 has been a big year for Pixar, which had two new films come out, even with the movie business ravaged by a pandemic. The first one, Onward, which came to theaters briefly on March 5, is the tale of a pair of brothers on a quest, set in a fantasy world in which magic has been slowly drained away. The second, the jazz-driven adventure Soul, was delayed several times before its Christmas Day debut on Disney+. These came on the heels of the Oscar-winning Toy Story 4, which most likely brought an end to the studio’s most well-known franchise after 24 years.

And what better to do in a two-Pixar year than rank all of the Pixar movies from worst to best? So that’s just what the Vox Culture team has done; you’ll find our definitive standings below.

23. Cars 2 (2011)

The worst thing about Cars 2, even worse than the fact that it is 106 minutes of Larry the Cable Guy doing his unfunny Larry the Cable Guy shtick against a backdrop of borderline offensive clichés and regional stereotypes, is that the animation is frequently dazzling. It’s flashy, colorful, full of intricate and eye-pleasing detail, and far, far lovelier than this terrible movie deserves.

The first Cars movie was a tired story about a cocky race car who needs to learn humility from a bunch of small-town yokels, but it still managed to deliver at least some charm and character variety. In contrast, Cars 2 puts all of its energy into a bafflingly insipid mistaken-identity spy plot, entirely centered on Larry the Cable Guy, a.k.a. Mater. It’s North by Northwest by Hee-Haw, and no matter how hard you wish for it, there is no reprieve; Larry the Cable Guy keeps being in the movie, and the movie keeps happening, and the movie is 106 minutes long.

Here is a list of other movies that are 106 minutes long: Hitchcock’s To Catch a Thief, Gremlins, D2: The Mighty Ducks, Whiplash, Fright Night, Lars and the Real Girl, Something’s Gotta Give, The Lego Movie 2, Halloween (2018). None of them contain uncomfortably long bidet gags, or references to “pains in my undercarriage,” or a scene where Larry the Cable Guy’s talking tow truck character pees himself in public. This makes them all five-star movies by comparison; highly recommended. —Aja Romano

22. Cars 3 (2017)

For a movie that largely exists to allow Disney’s merchandising arm to create more toys, Cars 3 is better than it has to be. Like the other Cars movies, its world-building feels especially half-assed (unless you assume it’s the post-apocalyptic tale of a world where sentient cars have killed all humans). But unlike the first two movies, it’s a surprisingly involved story about aging, the dismantling of white male privilege, and our coming artificial intelligence-dominated future.

Befitting its characters, Cars 3 feels more assembled than gracefully created, and its distinctly episodic nature holds it back. But it’s the rare movie whose protagonist learns that winning at all costs isn’t the only thing. Consider it the computer-animated version of a classic sports film like Bull Durham.Emily VanDerWerff

21. The Good Dinosaur (2015)

Even now, five years after its release, The Good Dinosaur can make a claim to being the most beautiful Pixar movie. Its photorealistic backdrops provide a gorgeous canvas for a story of a talking dinosaur and a silent human child trying to make their way across the American West to the dinosaur’s home.

The problem stems from how obvious it is that the story is cobbled together from the elements of other, better stories. Pixar made its name by taking wild scenarios that could only happen in animation — toys wake up, bugs have a secret society, there are monsters in the closet, etc. — and grounding them in old-fashioned, classic Hollywood storytelling. But The Good Dinosaur (which went through a tumultuous production process) doesn’t have much to add to the old tropes it’s updating. —EV

20. Cars (2006)

My 2-year-old nephew’s favorite movie — before he saw Toy Story, that is — was Cars. But then he saw Toy Story and he stopped talking about Cars (to my brother’s chagrin, since my brother loves cars, and Cars). I have to side with my nephew on this one. Cars is an absolutely fine movie, and it has a sweet affection for small-town, forgotten life by way of Radiator Springs. But Cars fails to match the ambition of some of its Pixar cousins, instead coming across as relaxed to the point of low stakes. And once you’ve seen any one of the studio’s other films, your love for Cars will most likely become but a passing phase. —Alex Abad-Santos

19. Onward (2020)

Onward takes place in a world that was once enchanted, but where the magic has faded away. The plot cleverly employs the structure of a campaign you might play in a fantasy role-playing game such as Dungeons & Dragons, with heroes, a quest, a number of obstacles and monsters, puzzles, spells, and some surprises thrown in here and there. The Tolkien-lite elements are mixed with more banal workaday realities. Set in a world populated by creatures like elves and centaurs and cyclopes — who live in the suburbs, where stray unicorns sometimes paw through the garbage — it’s both magical and hilariously ordinary.

Written and directed by Monsters University’s Dan Scanlon, Onward is gentle and fun. No, it’s not top-tier Pixar. But it’s better than most of the entertainment aimed at children that studios churn out these days. It doesn’t move at a frantic pace. It isn’t loud and grating or reliant on musical numbers that will eventually drive loving parents out of their ever-loving minds. It’s just a movie that has a big organizing concept — and it’s also got a heart. Onward gives a glimpse of Pixar’s likely future, but it still retains a spark of that old-time Pixar magic. —Alissa Wilkinson

18. Finding Dory (2016)

Over the years, Pixar — or more specifically director-screenwriter Andrew Stanton — has perfected the basic studio sequel formula of repeating the previous movie’s plot without making it feel like more of the same. Prime example: Finding Dory doesn’t have much to add to the original story of Finding Nemo, but it does have the great reveal that Dory really can talk to whales! Yes, that’s a small way to move things forward, but a fun one nonetheless.

The themes at the heart of Finding Nemo are still present in this film; there’s still an emphasis on the importance of found family, the unique challenges and delights of navigating life with a neuroatypical brain, and the vast and stunning splendor of the ocean. But Finding Dory diminishes Nemo’s philosophy of perseverance and communal kindness a bit, drowned out by a plot whose daring rescues frequently verge into the extravagant and often undermine the urgency of Dory’s quest to find her parents. That said, it’s still a fun kids’ movie, it’s still Pixar, and wow, the ocean: pretty cool, huh? —AR

17. A Bug’s Life (1998)

A Bug’s Life is something of a sophomore slump for Pixar. The studio’s follow-up to Toy Story was one of two animated movies about insects to hit theaters within months of each other, dampening some of the excitement around it. (The movie’s competitor, Dreamworks’ Antz, came out first.) That was a strange move on both studios’ parts: Ants and grasshoppers aren’t the most endearing or marketable main characters. But few (if any) of the characters from A Bug’s Life are likely to rank among Pixar fans’ favorites.

The film culls from an old Aesop fable, The Ant and the Grasshopper, to tell a story that feels much folkier than Pixar’s more modern fare: Flik is an inventor who wants to help save his home from invading grasshoppers in an effort to prove his worth to his suspicious neighbors. Instead of recruiting real fighters, he collects a traveling circus group of other bugs and tries to pass them off as the saviors his fellow ants are looking for … an amusing premise, but ultimately not one that really sticks.

There’s still some value in watching A Bug’s Life, if only just to see how much Pixar’s animation and storytelling have evolved in the years since. And the movie does have some unique touches, like an explicitly romantic ending and a villain, the terrifying Hopper, that straight-up dies. Otherwise, A Bug’s Life is but a quirky footnote in Pixar’s catalog. —Allegra Frank

16. Monsters University (2013)

One of Pixar’s lesser follow-ups is this college-set prequel, which fails to leave as much of an impression as the film it’s based on. Mike Wazowski and his future BFF James P. “Sulley” Sullivan are college freshmen who, as we know from Monsters Inc., are about to become lifelong pals. The stakes are low as a result, and in the end, it’s not all that interesting or exciting to watch their friendship develop. The college setting doesn’t really expand on the world of Monsters Inc., and watching these characters flail as their younger selves hardly adds to a story already defined best by its humor.

To the movie’s credit, there is a nice theme of learning to make peace with yourself when you fall short of achieving your dreams. Mike wants to be an accomplished scarer of humans, just like Sulley is — and again, we already know that isn’t to be. But when he realizes it’s not quite in the cards for him, he chases another passion instead. It’s not necessarily the most uplifting message from Pixar, but it plays out nicely (and realistically) enough. —AF

15. Brave (2012)

It felt, and in a way still feels, like so much was riding on Brave: It was Pixar’s first female-driven film, the first film with a girl as the hero, the first film with a woman as director. But Brenda Chapman, presiding over a depressingly gender-imbalanced art production team, found herself abruptly replaced in the director’s chair, on the orders of a CEO who later resigned from Pixar following allegations of sexual misconduct and accusations of “open sexism” that referenced Chapman’s firing.

Did Brave manage, then, to live up to expectations despite that production hurdle? I vote yes: Brave, by Pixar standards of excellence, is a delight. You feel the lovingly detailed animation in every curl on Princess Merida’s head, in every stitch of each intricate wall tapestry. Its story, about a fiery Scottish lass whose desire to fight and hunt like her father inadvertently leads her mother to be cursed and transfigured into a bear, is as interesting as the studio’s best. Its stakes — the restoration of Merida’s family and, oh, just her lifelong happiness and ability to be treated with respect in a violently patriarchal society — are as high as ever.

The plot isn’t as tightly wound as those of other, more highly regarded Pixar films, but that’s just fine. Brave takes its time reinforcing its emotional connections, lingering on the bond between Merida and her mom, and building Merida into one of Pixar’s most fully realized characters. Brave did everything the boys’ movies did, and it did it backward, in high heels, while frequently fending off inappropriate workplace behavior. If you want a better movie, well, here’s what you can do. —AR

14. Monsters Inc. (2001)

Remember how Monsters Inc. lost the first-ever Oscar for Best Animated Feature to Shrek? Awards aren’t everything — not to mention they’re political and subjective — but the loss still feels like a sore spot in Pixar’s history. Unlike the movie that took the crown that year, Monsters Inc. holds up as something like an even more intimate Toy Story. It’s in part a platonic love story between an odd couple of monsters, the one-eyed Mike Wazowski and furry blue Sulley. Throw in a human toddler nicknamed Boo, who ends up in the guys’ care after getting lost in the monster world, and things get a bit more special.

Boo, Mike, and Sulley’s makeshift family is where Monsters Inc. wrings out its most emotional moments, even if it may be easy to cynically consider her a human plot device meant to inspire coos from viewers and create drama between her two fumbling monster dads. But Monsters Inc. is charming, funny, and often moving nonetheless.

In contrast to the more meme-friendly Shrek, Monsters Inc. doesn’t have an extensive internet legacy. And maybe that has clouded some folks’ memory of its quality — there’s nothing like Shrek’s “All Star” sequence. (A high-energy musical number from Billy Crystal’s Mike comes really close, though.) But there’s a reason Pixar revisited the film with a (much less engrossing) prequel: Mike and Sulley are as classic a pair of best friends as Buzz Lightyear and Woody. It just may be harder to remember it because there’s no goofy alt-rock song attached. —AF

13. Incredibles 2 (2018)

It took 14 years for director Brad Bird to return to the world of 2004’s The Incredibles (one of Pixar’s finest films), and in that time, the world had gone absolutely gaga for superheroes. So this sequel engages with questions of what we’re looking for from superhero storytelling and from our current superhero boom.

But it’s also interested in a whole host of other questions, like what it means to be exceptional and how to balance the needs of the self against the needs of the community. That it wraps all this up in a zippy plot filled with brilliant action sequences and is centered on Holly Hunter’s Helen Parr (a.k.a. Elastigirl) gives the movie plenty of visual and storytelling verve. It’s messier than the first film, and at times, it’s hard to parse exactly what its villain’s motivations are. But that pales in comparison to all the stuff that works, because it works so, so well. —EV

12. Toy Story 4 (2019)

If Toy Story 4 is the end of the Toy Story franchise, it will be a satisfying one. While its predecessors are more ensemble-focused, this movie is really about Woody, the pull-string cowboy, as he comes to terms with his own obsolescence. Bonnie, who inherits Woody at the end of Toy Story 3, doesn’t love him as much as his original owner, Andy — leaving Woody to look for meaning in a life that doesn’t match up with the way he’s always believed it was supposed to go. Woven into the plot are vulnerable moments about how we deal with love, our feelings, and relationships that fall off with age.

Toy Story 4’s message to viewers is that we don’t have to stop loving someone just because they’re not in our lives anymore. And even if those relationships end, it doesn’t make them any less special or powerful. While one could argue these themes were already explored in the second and third Toy Story movies, Toy Story 4 still stands out with its rich storytelling and focused story. —AAS

11. Inside Out (2015)

When it was released in 2015, on the heels of a rough patch for Pixar (from when 2011’s Cars 2 became the only Pixar movie with a rotten score on Rotten Tomatoes to when The Good Dinosaur had to abandon a late 2014 release date due to production problems), Inside Out felt like the studio finally righting its way. Its depiction of the emotions guiding the inner life of a girl on the cusp of adolescence was clever and visually innovative, while its cast (including Amy Poehler, Mindy Kaling, and Bill Hader) was perfectly chosen.

The movie’s superb storytelling introduces incredibly complex ideas — like the notion that two emotions can combine into some third emotion, more complicated than either of them alone — in ways that make instant sense to the audience without tons of exposition. And the message that sometimes feeling darker emotions like sadness and anger is necessary is a meaningful one. Inside Out has its problems (particularly its perhaps too simplistic view of the divide between men and women), but on the whole, it’s a sneakily devastating good time. —EV

10. Toy Story 3 (2010)

Toy Story 3 is a heartbreaker. It’s the perfect culmination of a story that, when it came out in 2010, had been 15 years in the making. Andy, the kid who owned the franchise’s familiar ensemble of toys, grew up and out of his once-beloved playthings. As viewers, maybe his choice to ditch his toys as he preps for college feels unfair, even cruel. We love Woody and Buzz, after all — doesn’t Andy remember that he once did, too?

Of course he does. But as he enters a new phase of life to be filled with new people, new memories, new loves, his toys must accommodate him. And they have to come to terms with their own growth too; as new residents of Sunnyside Daycare, they’re about to meet new kids and learn to love them, as scary as that can seem.

As a viewer around Andy’s age when Toy Story 3 came out, I found the film beautiful, if very difficult to watch. Yes, it’s beautiful and emotional at any age (there’s a scene toward the end with an incinerator that should be used as a sociopathy test, because if you don’t cry, there’s an issue). But watching it as I sat on the cusp of college myself, I found it to be the most affecting, realistic portrait of the transition to adulthood I’d ever seen in animation. This was the dramatic, necessary conclusion that Pixar had been building toward since the first Toy Story. All apologies to Toy Story 4, but Toy Story 3 will always feel like the series’ true finale. —AF

9. Coco (2017)

Coco doesn’t get enough credit for being one of the most beautiful films of Pixar’s entire run — if not the past 25 years overall. That first glimpse of the soaring, stupendous, and sweetly spooky Land of the Dead is breathtaking. But a failure to fully recognize Coco’s beauty could be blamed on how wonderfully Coco tells a story about how crucial our families are to who we become.

Miguel, the movie’s plucky protagonist, travels to the underworld to find out about himself and his family’s history, but ends up finally understanding his grandmother and, for the first time, truly discovers who she is. Through the journey, he realizes that love is the only way for him, and for those who have died, to forever remain in the world of the living — at least in spirit. In Coco’s world, and in ours too, love, life, and survival are one and the same. —AAS

8. Toy Story 2 (1999)

Toy Story 2’s magic lies in its ability to add world-shattering wrinkles into the fabric of everything we thought we knew about Toy Story. In this installment, Woody’s going through an existential crisis, as he has to choose between leaving Andy to “live” (a loose interpretation of the word) in a Japanese museum forever or staying with Andy, despite Woody’s fears that Andy will outgrow him. The narrative twists and trapdoors in making Woody more cognizant of his own existence, and his wants and desires, are equal parts stress-inducing and thought-provoking for those of us who have grown attached to the pull-string cowboy. The creativity, adventure, and emotional depth in Toy Story 2 make it, in the eyes of some viewers, the best Toy Story of all time. [Ed. note: Our collective ranking suggests otherwise, but it’s all subjective, right?] —AAS

7. Up (2009)

One of my favorite things about Up is the delighted conversation my friends had upon its release about Kevin the Bird. Granted, there are lots of reasons to love Up: It’s masterful at wrangling its openly bittersweet emotions, particularly showcased in Pixar’s best and most memorable opening montage. It’s dotted with faint touches of magical realism that befit its South American locale, and many of them are warmhearted surprises: Balloon-ship houses! Dogs that can tell you they love you! “Squirrel!”

But none of them top my excited group of friends explaining to me, a clueless white person, how funny it is that Russell, the eager boy scout who accompanies grieving widower Carl on his mission to the Venezuelan tepuis, names the exotic bird they find “Kevin.” Russell is a tiny Asian kid, they explained, and Asian guys named Kevin are a whole Thing. To me, Kevin was just a bird named Kevin; to them, it was an entire sly cultural in-joke.

Look, Up is only the second animated film ever nominated for a Best Picture Oscar, deservedly, and it’s my favorite Pixar film because of its warmth, its humor, and its painful truths about grieving and letting go. But it’s also full of small coded details like “Kevin,” and they remind me that it might be even more special for eager Asian kids like Russell than it is for me. I love Up all the more for that. —AR

6. Ratatouille (2007)

Ratatouille is best remembered for its triumphant finale, which serves as a thesis on the nature of criticism — one that almost feels like director Brad Bird is speaking to film critics directly through the intimidating food writer Anton Ego. But Bird isn’t thumbing his nose at critics or their work. Instead, his film’s message is that love for art of all forms is what inspires all critics, professional or otherwise; that’s what drives us, and that’s what we mustn’t forget.

What makes this remarkably strong takeaway so effective is that Ratatouille works as a great example of why film critics are so drawn to the medium. The movie is a work of art on its own — beautifully animated, with a well-constructed story. And its characters, from the dopey cook Linguini to “little chef” Remy the rat, each tell us something about art itself. Art is an opportunity to share our passion, and it can offer pleasure, no matter the bona fides of its origin.

This resonates even if you aren’t a critic by trade. In all art, we seek entertainment, or joy, or excitement. And Ratatouille offers all of that in spades. The movie benefits from the work of a Pixar crew performing at its height, even if its high-concept, slightly bizarre story — a rat that cooks? It’s weird! — could suggest at first that it may not sing for audiences quite as beautifully as some of Pixar’s other stories. Not the case: As Anton Ego says, “A great artist can come from anywhere.” Ratatouille is a great artist, and great art. —AF

5. Finding Nemo (2003)

Finding Nemo’s greatness can be measured in the sheer number of characters — minor and major — that you think about long after the movie’s over. There’s Nemo, Dory, and Marlin, the core trio, but there’s also Gil, Bruce, and even smaller characters like Peach, the Allison Janney-voiced starfish, and Pearl, the baby octopus who inked herself. Nemo succeeds in not only capturing the natural beauty and wonder of our real-life ocean but also telling a story about parenthood and friendship and, to our own deep sadness, the fragility of life in a way — and through diverse, myriad characters — that we don’t usually think about. —AAS

4. Soul (2020)

It feels terrifying, even a little gutsy, to say that a movie arriving this many years into Pixar’s oeuvre might top some of the studio’s classics. But I think Soul’s position is merited, for a few reasons.

It’s a story about a jazz musician and souls in search of a “spark,” and it may be the most philosophically complex of the studio’s work. Director Pete Docter (who also made Inside Out) and co-director Kemp Powers tackle a traditional theme in family-friendly animated movies — finding your unique purpose in life — and turn it on its head, subtly challenging our culture’s focus on “doing what you love” as your occupation. Instead, they think with more complexity about the many things that make us human, and they do it with humor, grace, and subtlety that feels uncommon in animated storytelling, even from Pixar.

They also do it with incredible visual imagination. Segments of Soul bend visual conventions that we are used to seeing from Pixar, evoking other dimensions and planes of being with different sorts of art. And even when the characters are just moseying along the streets of New York, the landscape is rendered in such detail and with such attention to texture that the specificity feels almost startling. The biggest joy of animation is that you can do things with it that you can’t do with live-action, and Pixar pulls out all the stops in crafting Soul’s world. —AW

3. Toy Story (1995)

Rare is it that a film studio gets its first-ever feature just right. But Pixar came out of the gate as a unique breed: a studio that dared to release a full-length animated movie created entirely with computer-generated graphics. In 1995, that was unheard of; traditional animation was still dominant. Despite having little competition on that front, Pixar wowed audiences not just on the basis of Toy Story’s impressive novelty but also through the film’s sheer wit, storytelling, and maturity. Its introduction of Woody and Buzz Lightyear, opposites who very much repel each other until they naturally attract, contends with love, friendship, and the meaning of life in funny and thoughtful ways.

While Pixar’s work has become more technically advanced in the past two decades, I’m still so drawn to how the original Toy Story feels lived-in and expansive, like every nook and cranny of Andy’s room could be worth exploring. As a kid, I found that world to be, well, a world: somewhere I felt safe and comfortable and excited to see more of. That’s something I continue to look for in movies, particularly animated ones; while Pixar continues to craft living, breathing universes for its stories, Toy Story’s remains the one I feel as though I know best.

It helps that Toy Story is the longest-running franchise in Pixar’s oeuvre, just slightly edging out Cars. What makes Toy Story so essential where Cars feels exhausting, though, is the toys. Watching Buzz and Woody’s friendship grow is an emotional experience; the 90-minute journey they take to accepting one another remains powerful. Above all, their relationship is why the toys’ (and Pixar’s) inaugural outing remains as funny, dazzling, and satisfying today as it was in 1995. “You’ve Got a Friend in Me,” indeed. —AF

2. The Incredibles (2004)

Brad Bird is the closest thing Pixar has to an auteur filmmaker, who makes movies with a strong, personal vision that keep returning to the same ideas over and over. And his first movie for Pixar, The Incredibles, showed off his talent for large-scale action sequences balanced against small-scale domestic comedy, in a tale of a family of superheroes living in a world that’s made superpowers illegal after some unfortunate incidents and massive amounts of property damage.

What’s great about Incredibles is how it balances the two sides of its personality, while also allowing for a surprisingly meaty dive into ideas about what it means to be “special” and making room for other people to have their own sense of specialness. The ideas in this film have gotten Bird accused of being a Randian objectivist, but what’s so smart about The Incredibles is how Bird never pins himself too thoroughly to any one point of view. This is a movie that can be read on many different levels, from a simple family comedy to an action movie imbued with philosophy to a genuine war of political principles that manages to pack in some great sight gags. —EV

1. Wall-E (2008)

All by itself, Wall-E’s sublime, dreamy opening sequence, in which a lonely android compacts trash on a desolate planet while enjoying the strains of Hello, Dolly!, would warrant its place at the top of our list. Like a little mermaid who’s been collecting human gadgets and gizmos for several hundred years, Wall-E has managed to retrieve something like a soul out of all that discarded refuse; like us, he’s entranced by musical theater, baffled by sporks, and full of love. This image of an adorable Curiosity-like rover keeping his spirit alive after centuries of solitude is simultaneously full of heartbreak and hope, and the film rides that delicate balance all the way through its wrenching highs and lows as Wall-E and his fellow android Eve fight to bring humanity home.

Pixar’s finest movie trusts frequently in its purely aesthetic storytelling, keeping viewers absorbed through long, dialogue-less scenes that marry stellar animation, intricate world-building, and superb sound engineering. Its perfectly humanistic androids have deeply human hearts, in contrast to actual humans, who’ve been cruising in space for so long that they’ve fallen into a lethargic simulacrum of real life. Writer Andrew Stanton has constructed one near-perfect story after another for Pixar over the years, but with Wall-E, he gets closer than ever, simply by presenting the dystopian future as a product of everyday environmental mismanagement, corporate greed, and out-of-control consumption and wastefulness, and letting the results largely speak for themselves.

Even as it dives into conversation with Kubrick and Sagan, Atompunk and Heinlein, Wall-E never fully feels retro because it never stops asking painfully contemporary questions. We need its dose of clear-eyed, restorative faith, perhaps even more now than we did a decade ago. —AR

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Editor’s note, May 24, 2021: Since this piece was originally published in April 2020, scientific consensus has shifted. Now some experts say the “lab leak” theory warrants an investigation, along with the natural origin theory, and information in this article may be out of date. For our most up-to-date coverage of the coronavirus pandemic, visit Vox’s coronavirus hub.


One of the great mysteries of the Covid-19 pandemic is how, exactly, the SARS-CoV-2 virus made the leap from wildlife into humans. Scientists who’ve analyzed the virus’s genome believe it came from a bat, likely in China. But Chinese epidemiologists have revealed little about how or where the first patients were infected.

One focus has been a wet market in Wuhan, where live wildlife was sold for food, because 66 percent of the first cluster of 41 cases in December 2019 had exposure to this market. Yet there is also genomic evidence and reports the virus could have been circulating earlier, in November. Which means there are many other possible places it could have jumped from a bat, or an intermediary species, to humans.

Finding the index case, or “patient zero,” for an infectious disease that’s just emerged can take months or years, if the person can even be found at all. So it’s not unusual we still don’t have one, especially for a disease with so much asymptomatic transmission.

Into the vacuum has seeped a potent, speculative, and confusing discussion about the virus’s origin, particularly in the US, where the GOP is intensifying its efforts to blame China for the pandemic.

In March, I offered explanations from virus experts for why they dismiss two of the theories that have surfaced about the coronavirus origin: that Chinese scientists bioengineered it in a lab and/or deployed it as a bioweapon.

In this piece, I’ll address the theory du jour: that a Chinese researcher was infected with the new virus inside a high-containment Wuhan laboratory and accidentally spread it, after which China attempted to cover it up.

This hypothesis has been circulating in US, UK, and Chinese media since February, with fresh reporting and speculation this month in the Daily Mail, Vanity Fair, Fox News, and the Washington Post. A Tuesday op-ed drawing solely from circumstantial evidence by chief “labber” Sen. Tom Cotton (R-AR) in the Wall Street Journal raised the question anew.

Riding the wave of these reports, President Donald Trump is also now using this potential avenue for blaming China; on April 15, he said his government was looking into whether the virus came from the Wuhan lab. Secretary of State Mike Pompeo has also said Beijing “needs to come clean” on what it knows about the virus’s origin.

Trump and the GOP’s motivation to establish new ways to blame China for the pandemic is clear: The president’s response to the pandemic has been abominable, and he faces an election in six months, with more than 22 million people unemployed and an economy heading toward recession. The lab-escape theory joins a variety of arguments he and his supporters are using — including scapegoating the World Health Organization and former President Barack Obama — to divert attention from his failures.

The Wuhan lab may also be the most tantalizing of the diversions, not just for Trump’s supporters but also for some political journalists and China hawks. What if the catastrophe is a result not of nature but of China’s incompetence with handling viruses and habit for suppressing information?

Such a spy-novel-worthy plot may seem plausible for a number of reasons: the Chinese government’s poor record of transparency; the fact that the Wuhan Institute of Virology, a research center with facilities in the same city where the virus first appeared, was studying dangerous pathogens, including bat coronaviruses; and US officials’ concerns about the lab’s safety standards in 2018, per the Washington Post.

Yet five scientists I interviewed, some of whom have worked extensively in China with researchers at the Wuhan Institute of Virology, say the pandemic can’t logically be pinned on an accident at that lab. (Researchers at the institute didn’t respond to my request for comment.)

The scientists I did speak to all acknowledge it’s not possible to definitively rule out the lab-escape theory. “The trouble with hypotheses is that they are not disprovable. You cannot prove a negative,” said Peter Daszak, president of EcoHealth Alliance and a disease ecologist who has studied emerging infectious diseases with colleagues in China. Yet he also sees the lab-escape theory as “ironic and preposterous.”

The scientists I spoke to also noted that all countries with high-level containment facilities, including China and the US, must be vigilant to prevent accidental leaks of dangerous diseases from labs. “I think we all are concerned about the increasing presence of high-consequence pathogens in laboratories and the issue of inadequate biosecurity,” said Dennis Carroll, the former director of USAID’s emerging threats division who helped design Predict, a surveillance program for dangerous animal viruses that the Trump administration chose to shut down in October. “We’ve seen examples of inadvertent release in the past and I’m sure we will see it in the future. So it’s a very major concern that we need to pay attention to.”

But scientists told me that based on what they know about the Wuhan Institute of Virology and the likelihood of a natural spillover event, they didn’t see lab escape as probable. And one expert added that it could be dangerous to get too preoccupied with this theory when the threat of another disease with pandemic potential from wildlife is so high.

Since politics will continue to propel this theory into the public sphere, let’s walk through six reasons a lab leak is unlikely.

1) The probability of the virus jumping from animals to humans outside the lab is much higher than the virus infecting humans inside the lab

Daszak is a scientist who has spent the past 15 years collaborating with scientists in China and other emerging disease hot spots around the world to find out where dangerous viruses lurking in wildlife — like the first SARS virus, MERS, and Ebola — are, how they get into people, and how to stop people from spreading them and spiraling into pandemics.

He says he’s confident SARS-CoV-2, the new coronavirus, originated in bats and jumped into people somewhere, likely in China, because he and his colleagues have established that viruses like it are out there and there are so many opportunities for this to happen.

“If you do the math on this, it’s very straightforward. … We have hundreds of millions of bats in Southeast Asia and about 10 percent of bats in some colonies have viruses at any one time. So that’s hundreds of thousands of bats every night with viruses,” Daszak says. “We also find tens of thousands of people in the wildlife trade, hunting and killing wildlife in China and Southeast Asia, and millions of people living in rural populations in Southeast Asia near bat caves.”

Next, he says, consider the data he’s collected on people near bat caves getting exposed to viruses: “We went out and surveyed a population in Yunnan, China — we’d been to bat caves and found viruses that we thought could be high risk. So we sample people nearby, and 3 percent had antibodies to those viruses,” he says. “So between the last two and three years, those people were exposed to bat coronaviruses. If you extrapolate that population across the whole of Southeast Asia, it’s 1 million to 7 million people a year getting infected by bat viruses.”

Compare that, he says, to what we know about the labs: “If you look at the labs in Southeast Asia that have any coronaviruses in culture, there are probably two or three and they’re in high security. The Wuhan Institute of Virology does have a small number of bat coronaviruses in culture. But they’re not [the new coronavirus], SARS-CoV-2. There are probably half a dozen people that do work in those labs. So let’s compare 1 million to 7 million people a year to half a dozen people; it’s just not logical.”

But he told me he gets why people in the US, who aren’t regularly exposed to bats, have a hard time understanding how great the risk is of humans getting infected with novel coronaviruses circulating in bats.

“I understand — it’s a weird thing. Bats live out there, we don’t see them that often, we don’t realize how common, how abundant, how diverse they are,” he says. “In Southeast Asia, they carry their own viruses, and there’s just this really big interface between bats and people, every night, every day. People live in caves, people shelter from the rain in caves, people hunt bats.”

Angela Rasmussen, a virologist at Columbia University, also sees the lab-leak theory as very unlikely. “This virus came from bats under unknown circumstances,” she told me. “While I cannot rule out the lab-accident theory, there are so many other possibilities for how it could have happened. It could have been someone collecting bat guano for fertilizer, somebody cleaning out a barn, somebody exploring a cave. It could be any situation like that of someone in contact with animals who then spread it to other humans. There are so many other options than a lab leak.”

2) Yes, the Wuhan lab studied bat coronaviruses and SARS-related viruses. But there’s no evidence it discovered or was working on the new virus.

One of the big arguments “labber” theorists make for why we should suspect the Wuhan Institute of Virology of accidentally leaking the virus: Researchers there were already studying bat coronaviruses.

This is true; they published studies on the first SARS coronavirus that infected humans in 2003 and other bat coronaviruses, noting presciently in one paper, “it is highly likely that future SARS- or MERS-like coronavirus outbreaks will originate from bats, and there is an increased probability that this will occur in China.”

In 2020, they reported on a virus called RaTG13 that they’d discovered in a cave in Yunnan, China, in 2013. This virus shares 96 percent of its genome with the new coronavirus, which makes it the new virus’s closest known relative.

Some have speculated that perhaps the new coronavirus is derived from RaTG13. Yet virologists say it’s very unlikely: A 4 percent difference in genome is actually huge in evolutionary terms.

“The level of genome sequence divergence between SARS-CoV-2 and RaTG13 is equivalent to an average of 50 years (and at least 20 years) of evolutionary change,” said Edward Holmes, a professor at the University of Sydney who has published six academic papers this year on the genome and origin of SARS-CoV-2, in a statement. “Hence, SARS-CoV-2 was not derived from RaTG13.”

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Another questionable assumption is that the mere existence of a related virus in the lab signals the possibility that SARS-CoV-2 was also there.

Daszak, who collaborates with the Wuhan bat coronavirus researchers and has co-authored papers with them, says this is false. He and the researchers there were indeed looking for viruses related to the first SARS virus, also known as SARS-1, in the hope of finding ones that might be a threat to humans. He confirmed that they had collected samples of bat feces that contained viruses and brought them back to the Wuhan lab.

However, he said, the new coronavirus is only 80 percent similar to SARS-1 — again, a very big difference. “No one [in Wuhan] cultured viruses from those samples that were 20 percent different, i.e., no one had SARS-CoV-2 in culture. All of the hypotheses [of lab release] depend on them having it in culture or bats in a lab. No one’s got bats in a lab, it’s absolutely unnecessary and very difficult to do.” (Cell culture is a way of storing viruses in vitro in a lab so they can be studied over long periods.)

3) Scientists like to gossip about new viruses. There was no chatter before the outbreak about the virus that causes Covid-19.

Carroll, the former director of USAID’s emerging threats division who also spent years working with emerging infectious disease scientists in China, agrees that there’s no evidence the Chinese researchers were working with a novel pathogen. His reasoning? He would have heard about it.

“The reason I’m not putting a lot of weight on [the lab-escape theory] is there was no chatter prior to the emergence of this virus to a discovery that would have ended up bringing the virus into a lab,” he says. “And if nothing else, the scientific community tends to be very gossipy. If there is a novel, potentially dangerous virus which has been identified, circulating in nature, and it’s brought into a laboratory, there is chatter about that. And when you look back retrospectively, there’s no chatter whatsoever about the discovery of a new virus.”

Carroll is confident he would have heard about it because, in his current role as head of the Global Virome Project, he has his ear to the ground and remains active in the community.

When I asked if the Chinese researchers would have kept it secret, he replied, “People will come back and say China is China, they would have suppressed that information. But Chinese scientists, I think, are just as gregarious as everyone else.”

Rasmussen, for her part, also thinks there’s no suggestion of a cover-up. “I haven’t seen evidence of a grand conspiracy to cover up that there was a lab leak of this virus,” she said.

4) The US military chief reviewed the evidence and says “the weight of evidence seems to indicate natural” origin

As the lab-escape theory has gotten more attention in the media, we’ve learned that US military and intelligence officials have also been reviewing the possibility.

On April 14, we got a window into what those ongoing investigations have revealed so far about whether the virus leaked from a lab or jumped to people outside a lab, in nature.

“There’s a lot of rumor and speculation in a wide variety of media, blog sites, etc,” Chairman of the Joint Chiefs of Staff Gen. Mark Milley told reporters at the Pentagon. “It should be no surprise to you that we’ve taken a keen interest in that, and we’ve had a lot of intelligence look at that. And I would just say at this point, it’s inconclusive, although the weight of evidence seems to indicate natural [origin]. But we don’t know for certain.”

Brig. Gen. Paul Friedrichs, the Joint Staff surgeon, has also said “there is nothing to” the idea that the virus originated in a laboratory as a bioweapon experiment.

What’s more, as the New York Times reported in its sweeping April 11 review of the administration’s failed coronavirus response, intelligence officials couldn’t find evidence for the lab theory after Matthew Pottinger, the deputy national security adviser who was one of the earliest advocates for Trump to refer to Covid-19 as the “Wuhan virus,” pushed them to look for it:

With his skeptical — some might even say conspiratorial — view of China’s ruling Communist Party, Mr. Pottinger initially suspected that President Xi Jinping’s government was keeping a dark secret: that the virus may have originated in one of the laboratories in Wuhan studying deadly pathogens. In his view, it might have even been a deadly accident unleashed on an unsuspecting Chinese population.

During meetings and telephone calls, Mr. Pottinger asked intelligence agencies — including officers at the C.I.A. working on Asia and on weapons of mass destruction — to search for evidence that might bolster his theory.

They didn’t have any evidence. Intelligence agencies did not detect any alarm inside the Chinese government that analysts presumed would accompany the accidental leak of a deadly virus from a government laboratory.

Newsweek reported April 27 that in March the US Defense Intelligence Agency issued a report that “reveals that U.S. intelligence revised its January assessment in which it ‘judged that the outbreak probably occurred naturally’ to now include the possibility that the new coronavirus emerged ‘accidentally’ due to ‘unsafe laboratory practices’ in the central Chinese city of Wuhan.”

Again, the US government’s investigation into the theory is ongoing, so it’s possible it will turn up new information. But so far, the reports we do have suggest the natural origin is more likely.

5) Wuhan Institute of Virology scientists deny a lab leak

There’s no question the Chinese government and ruling party made grave errors in managing the outbreak from the outset that contributed to its spread around the world. And according to Nature, the government is putting in place new rules in reviewing research on the virus origin.

As Sen. Ed Markey (D-MA) put it to my colleague Alex Ward, “We don’t know the true extent of the Chinese government’s complicity in the spread of the virus, and we may never have a full picture due to their obfuscation and control of information. We do know that they lied to their own people and the world about the details and spread of the virus, and today we face a pandemic that has left no country untouched.”

And China should, as the Washington Post’s David Ignatius pointed out on April 23, “promptly begin a serious, credible investigation into how the Covid-19 pandemic began.”

But the scientists I interviewed say that we still shouldn’t immediately conflate the work of the highly regarded Chinese scientists who work at the lab with the transgressions of their government.

We also have the word of one of the top virologists at the Wuhan lab, documented in news articles, that she too wondered if the virus could have originated in her lab and then took steps to verify it didn’t match any of the viruses they had in culture.

In this excellent article by Jane Qiu in Scientific American, we learned that the team at the Wuhan lab led by Shi Zhengli, known as China’s “bat woman” for her 16 years of work collecting samples of bat viruses in caves, sequenced the genome of the new virus in early January and published it on January 23:

Shi instructed her team to repeat the tests and, at the same time, sent the samples to another laboratory to sequence the full viral genomes. Meanwhile she frantically went through her own laboratory’s records from the past few years to check for any mishandling of experimental materials, especially during disposal. Shi breathed a sigh of relief when the results came back: none of the sequences matched those of the viruses her team had sampled from bat caves. “That really took a load off my mind,” she says. “I had not slept a wink for days.”

Yuan Zhiming, vice director of the Wuhan Institute of Virology, also recently spoke up on Chinese state broadcaster CGTN. “As people who carry out viral study, we clearly know what kind of research is going on in the institute and how the institute manages viruses and samples. As we said early on, there is no way this virus came from us,” he said, according to NBC News.

I asked Jim LeDuc, head of the Galveston National Laboratory, a level-4 biosafety lab in Texas, for his thoughts on Yuan’s statement. “I like to think that we can take Zhiming Yuan at his word, but he works in a very different culture with pressures we may not fully appreciate,” he said. In other words, we don’t know what kind of pressures he might be under from his government to make such a statement.

LeDuc says the hypothesis that the animal market played a role in the virus jumping to humans also remains strong. “The linkage back to the market is pretty realistic, and consistent with what we saw with SARS,” said LeDuc. “It’s a perfectly plausible and logical explanation: The virus exists in nature and, jumping hosts, finds that it likes humans just fine, thank you.“

6) State Department officials worried about safety issues at the Wuhan lab in 2018. This is concerning but doesn’t prove its scientists were incompetent.

In an April 14 piece, Josh Rogin, a global opinions columnist for the Washington Post, reported that in January 2018, the US Embassy in Beijing dispatched science diplomats to the Wuhan Institute of Virology who later sent back cables that warned of “safety and management weaknesses at the WIV lab and proposed more attention and help.”

Rogin went on to cite an anonymous senior administration official’s belief that “the cables provide one more piece of evidence to support the possibility that the pandemic is the result of a lab accident in Wuhan.”

The article sparked a rich discussion on Twitter, with Rasmussen of Columbia pointing out, “The bottom line is that those vague diplomatic cables do not provide any specific information suggesting that #SARSCoV2 emerged from incompetence or poor biosafety protocols or anything else.”

In a follow-up conversation with me, she reiterated: “This line that they’re incompetent, it doesn’t hold water with me.”

Other scientists who have worked with the Wuhan Institute of Virology have spoken up about its standards and practices in the face of the theory it leaked the virus.

“I have worked in this exact laboratory at various times for the past 2 years,” wrote Danielle Anderson, scientific director of the Duke-NUS Medical School ABSL3 Laboratory, in a March 2 post on Health Feedback, a site where scientists review the veracity of news reports. “I can personally attest to the strict control and containment measures implemented while working there. The staff at WIV are incredibly competent, hardworking, and are excellent scientists with superb track records.”

Gerald Keusch, a professor of medicine and international health and associate director of Boston University’s National Emerging Infectious Diseases Laboratories, also doubts the lab would have been prone to accidents.

“The Wuhan lab is (as far as I know because I have never visited) state of the art in terms of safety and security systems and protocols, and because [the Galveston National Laboratory in the US] helped to train many of them and has collaborations I would bet they are highly professional, which makes the likelihood of an accident remote,” he said. “Is it possible? Yes. Is it likely? In my opinion, no.”

We may never find out exactly when this virus made the leap into humans. But focusing too much on the lab-leak theory could ultimately be dangerous.

Since there’s no robust evidence in support of the lab-leak theory, Daszak says he’s worried that it could become a conspiratorial distraction with serious consequences.

“There is a group of people who do not want to believe that this is a natural, unfortunate incident,” he said. “And the real bad part of that is that if we don’t believe that we won’t try and stop other viruses in wildlife. Instead, we will focus on labs and close them down when they’re the ones trying to develop vaccines to cure us right now. I mean, how ironic could we go?”

Carroll says the lab-leak theory, even if there isn’t evidence to support it, is a healthy reminder that lab accidents can happen and that biosecurity needs attention in country studying dangerous pathogens. But he’s also much more concerned with preventing the next pandemic.

Pandemics, says Carroll, do not have to happen. “They are a consequence of the way we live. You can pick [viruses] up earlier if you’re really including in your surveillance those places where animals and people are having high-risk interaction, those hot spots.”

If you have that surveillance, “you would never get a virus sweeping out of hand. You would never get a repeat of an uncontrolled, unrecognized event.”

Which means it’s time for the whole world to invest in studying the viruses in the bat caves and beyond, and building up the systems to stop them from spreading in humans, so this doesn’t happen again. Because otherwise, it will.

ERLING HAALAND’S future is set to be finalised by the end of next month – with Manchester City currently leading the race to sign him.

Reports in Germany say the Borussia Dortmund striker’s £64million release clause must be activated by April 30.

That means all clubs bidding to sign him must register their intention by then – while the Norwegian must also notify his current club of his intention to leave.

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Sources in Germany suggest he will make his plans clear before the end of March.

A move to the Etihad is becoming increasingly likely while Real Madrid, Barcelona, Bayern Munich and Paris Saint-Germain have all been keeping tabs on the 21-year-old’s situation.

However City are pushing hardest and should know in just over six weeks if they have been successful.

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Madrid are believed to be their major rivals for his signature but their priority this summer is signing Kylian Mbappe.

And that has put City firmly in the box seat as they are ready to do a deal now to bring him to England.

Former Germany international Matthias Sammer works as an external consultant for Dortmund and claimed he fainted when he saw the offer from the Prem champions.

He said:  “I didn’t hear anything today, yesterday, the day before yesterday. But I know City is after him.

ROBERT LEWANDOWSKI is keen to leave Bayern Munich in the summer, according to reports.

Lewandowski, 33, became a fan favourite when he arrived at the club in 2014.

He has scored an impressive 337 goals in 365 games for the Reds, and many have labelled him as the best striker in the world.

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However, according to reporter Florian Plettenberg and Sky Sports, he is now looking for a new challenge.

Plettenberg broke the news on Twitter, and said: "I know that Lewandowski wants to leave FC Bayern in the summer."

Borussia Dortmund star Erling Haaland is reportedly Bayern Munich's first choice when it comes to replacemin the Pole.

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BVB are expected to request around £65million for the 21-year-old, but they may ask for a higher fee if their biggest rivals are interested.

Haaland has certainly made his mark on European football this year, recording 23 goals and six assists in 21 games across all competitions.

Some of the world's biggest clubs are keen to sign him, including Spanish giants Real Madrid and Barcelona.

But, Manchester City are currently in front when it comes to the race for his signature.

MANCHESTER UNITED have been urged to ditch Harry Maguire from their starting XI and replace him with ‘no-nonsense’ Antonio Rudiger.

That’s according to former Red Devils defender Gary Pallister, who reckons the Chelsea star would be an upgrade on Maguire.

However, he adds that the United skipper should NOT be sold, with the hope that challenging Rudiger for a place in the XI eventually makes Maguire a better player.

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The England ace had another torrid evening as United crashed out of the Champions League to Atletico Madrid on Wednesday.

Maguire also scored a calamitous own-goal in the weekend win over Tottenham.

And United are now thought to be exploring options for a new centre-back this summer.

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Chelsea ace Rudiger is a reported possibility, with the German out of contract at Stamford Bridge in July.

He would apparently be open to staying in the Premier League.

And former centre-back Pallister, who won four league titles during a nine-year career at United, believes Rudiger is the ideal man to partner Raphael Varane.

However, Pallister believes United shouldn’t completely axe Maguire just yet, as he may need the challenge of some real competition in order to truly realise his potential.

NEWCASTLE have reignited their interest in Napoli striker Victor Osimhen, according to reports.

The Magpies were linked with the Nigerian star throughout the January transfer window, but faced competition from Arsenal at the time.

According to Corriere Dello Sport, they offered around £84million to Napoli for their star man, but the two parties could not come to an agreement.

However, Newcastle are now set to make an improved offer for the 23-year-old in the summer.

The Magpies are looking to overhaul their squad following the £300million Saudi takeover.

They have already made some statement signings since the change in ownership.

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Bruno Guimaraes became one of the club's most expensive signings when he arrived from Lyon for a fee of £43million in January.

Kieran Trippier was also a key signing for Eddie Howe's side, along with Chris Wood who joined from Burnley for £25million.

They also poached Matt Targett and Dan Burn from Premier League rivals Aston Villa and Brighton.

But, Newcastle are expected to spend even more during the summer and are scouting some big names.

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ENGLAND'S future looks bright with a plethora of budding cubs itching to burst into the national set-up and make their mark amongst the Lions.

After the Three Lions' agonising defeat to Italy in the Euro 2020 final several youngsters are waiting in the wings, ready to usher in a new dawn for Gareth Southgate's side.

Players such as Bukayo Saka, Mason Mount and Marcus Rashford were the nation's young hopes at the Euros, but now there's a bunch of new kids on the block.

Most notably, starlets such as Jacob Ramsey and Trevor Chalobah have been making waves ahead of the Qatar World Cup later this year.

But the duo aren't the only ones on the verge of a call-up for England.

Here, SunSport takes a closer look at the youngsters on the brink of greatness for the Three Lions.

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JACOB RAMSEY – ASTON VILLA

England icon and Aston Villa boss Steven Gerrard has already tipped Jacob Ramsey for international success following his stunning form for his club.

Aged just 20, Ramsey's become a staple for Villa this season – hitting the net six times in 26 Premier League appearances.

Ramsey shot through the ranks at Villa since joining their academy aged six and signing a professional contract in 2019.

He had a brief stint on loan with Doncaster Rovers in 2020 where he scored three goals.

PHIL FODEN says he will get a dog called ‘World Cup’ if England triumph in Qatar later this year – to go with the pooch he already has named ‘Carabao’.

The Manchester City ace got himself a French bulldog soon after his boyhood club won the League Cup for a third straight year in March 2020.

Asked if it was true the mutt had been christened after the energy drink who sponsor the competition, Foden said: “Yeah, it is.

“After I won it, I got a dog just after the final, so I decided to call it that. It’s not having puppies though, no chance.”

The Etihad favourite was part of the Three Lions squad who came so close to glory in the Euros last summer.

Asked if he would consider calling another dog ‘World Cup’, he said: “If we get there and win it then yeah – definitely.”

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Before then he is aiming to add the Champions League to a medal collection that already includes three Premier Leagues,an FA Cup and four Carabao Cups – at the tender age of 21.

He said: “Obviously that’s the one we dream about, the one we want.

“We’ve won the Premier League all these times and all the cups but it would be extra special if we could – but if not I still believe we’ve been so successful in the last few years.”

Foden was stunned recently when City legend and former team-mate Sergio Aguero named him as his favourite current player.

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MANCHESTER UNITED's board MUST take Jamie Carragher's advice and do everything they can to appoint Thomas Tuchel as the next permanent manager.

The upheaval at Chelsea means that Tuchel’s position may become problematic between now and the summer.

United were knocked out of the Champions League by Atlético Madrid on Tuesday evening.

Although the Red Devils are mathematically still in the race to qualify for the Champions League next season via the Premier League, given their indifferent form there are not many United supporters who think they will.

But, whether it’s the Champions League, Europa League or no European football at all next season, the big talking point amongst supporters is who will be in the dugout.

United, as Gary Neville has said on numerous occasions, must go for “best in class”.

But what exactly does that mean in relation to United’s pursuit of a new manager, and why does Tuchel fit the profile above all others?

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Pep Guardiola and Jurgen Klopp are the two best managers in world football.

Unfortunately, they manage Manchester City and Liverpool.

Automatically, you then have to look at who the “best of the rest” is, and names like Diego Simeone and Antonio Conte.

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It would be very difficult to get Simeone away from Madrid, and why would he leave a side that beat United so comfortably over two legs?

MEMPHIS DEPAY should be offered a shock transfer return to the Premier League with Tottenham, according to reports.

The Dutchman, 28, struggled during his two seasons with Manchester United from 2015 to 2017.

However, he resurrected his career at Lyon and joined Barcelona on a free last summer.

But according to Gerard Romero, Depay could be on the move again this year with Spurs making an approach.

With the futures of Steven Bergwijn and Harry Kane unclear, Tottenham are likely to need reinforcements in attack.

They missed out on Adama Traore but did land Dejan Kulusevski in January – and the Swede has made an instant impact in North London.

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Traore joined Barcelona, initially on loan, while fellow forwards Pierre-Emerick Aubameyang and Ferran Torres also made the switch from the Premier League.

Those arrivals – coupled with a series of injuries – have limited Depay's game time this year, although he has scored two in his last three substitute LaLiga appearances.

He was unable to add to his overall Barca tally of ten goals in Sunday's 4-0 win over Osasuna.

But the forward managed to post a video of a naked Gerard Pique to his 14million Instagram followers as the players celebrated in the changing room.

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