However, Pixar’s features ground themselves—and their adult specta-tors—in a set of “traditional” binary oppositions between male and female, good and bad, servant and master.

Alongside this sheer pleasure in ma-teriality and movement, Pixar operates with a nostalgia that is both regressive (in its reliance on traditional notions of gender, class, and morality) and liberat-ing (in its embrace of an ironic, detached view of the present).