<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/"><channel><title>Pixar on The CineBlog</title><link>https://thecineblog.com/tags/pixar/</link><description>Recent content in Pixar on The CineBlog</description><generator>Hugo</generator><language>en-US</language><lastBuildDate>Sat, 29 Aug 2026 22:43:19 -0500</lastBuildDate><atom:link href="https://thecineblog.com/tags/pixar/index.xml" rel="self" type="application/rss+xml"/><item><title>Inside Out 2: The Machinery of the Mind and the Corporate Spreadsheet</title><link>https://thecineblog.com/stories/enter-the-pixar-brain-trust-with-inside-out-2-writer-meg-lefauve/</link><pubDate>Thu, 20 Jun 2024 00:00:00 +0000</pubDate><guid>https://thecineblog.com/stories/enter-the-pixar-brain-trust-with-inside-out-2-writer-meg-lefauve/</guid><description>&lt;p&gt;&lt;em&gt;Mon Dieu&lt;/em&gt;, the sequel. It is the lifeblood of the modern studio system, and Pixar, once the bastion of original ideas, is now fully tethered to this machine. When &lt;em&gt;Inside Out 2&lt;/em&gt; arrived, the skeptics were quick to sharpen their knives. As the critics noted, the film often feels less like a glimpse into a real person&amp;rsquo;s brain and more like a carefully calibrated corporate spreadsheet. Pixar’s obsession with &amp;ldquo;universal relatability&amp;rdquo; can sometimes suffocate the very artistry it claims to champion.&lt;/p&gt;</description></item></channel></rss>