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At Disneyland's Pixar Place Hotel, hang out with Bing Bong and fall in love with animation

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At Disneyland's Pixar Place Hotel, hang out with Bing Bong and fall in love with animation

They say you shouldn’t sleep where you work, but Pixar chief Pete Docter means it at as a compliment when he says that Disneyland’s reimagined Paradise Pier Hotel — now branded to the Emeryville-based animation powerhouse — is like “walking into Pixar.”

An exaggeration, sure, but the Pixar Place Hotel entryway that greets guests echoes some of the branding seen on the company’s official campus, thanks to a large desk lamp — a nod to Pixar’s “Luxo Jr.” short and the “i” in Pixar’s logo — atop a ball with a red star. Likewise the mix of character designs and encased maquettes that dot the check-in area.

But the chilled-out takes on Pixar soundtracks, splashes of color and a couch that nods to Heimlich the caterpillar from the film “A Bug’s Life” ever-so-slightly shift the tone. There’s still an underlying corporate campus feel, but the aim is something warm, inviting and slightly whimsical — check the back of the lobby couch that acts as a jumping-off point for wall sketches of Remy from “Ratatouille.”

The feel — part art gallery, part lounge — is a drastic improvement from the hotel’s Paradise Pier days, when its entry corridors felt more like commuter spaces than comforting ones. The revamp of the Paradise Pier Hotel into the Pixar Place Hotel is the latest reinvention for the place of lodging at 1717 Disneyland Drive. Walt Disney Co. acquired the Anaheim property in 1995, when the 15-story building was known as the Pan Pacific Hotel, but its Paradise Pier Hotel days were likely numbered when the Paradise Pier section of Disney California Adventure became Pixar Pier in 2018.

“For those of you who are into the creative process, I think you’ll be really happy,” said Docter at the hotel’s opening ceremony this week. “This hotel really celebrates that. You get to see rough drawings, color studies, animation sketches.”

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There’s more to know if you’re considering a stay at the Pixar Place Hotel. Here’s what stood out from a tour of the property.

Achieving the Pixar tone

Disney likes to say that the Pixar Place Hotel is “Pixar-themed.” That’s not fully accurate, as the hotel is more Pixar-branded than it is themed, as a theme is an idea or a recurring art motif. Think of the California Craftsman look of the Disneyland Resort’s Grand Californian Hotel & Spa or the Midcentury Modern feel of the Disneyland Hotel next door.

The Pixar Place Hotel is striving for a contemporary theme that splits the difference between playfulness and elegance. This is evident in the cleaner look of the hotel from the outside, as it has been repainted white with subtle strips of color. Inside, there are cool, museum-like grays and whites that are broken up with intentional touches that celebrate the art of animation.

The floor, for instance, is accentuated with not-so-hidden stainless steel caricatures of Pixar characters. The maquettes, from films such as “Monsters Inc.” and “Finding Nemo,” are framed in glass cases with illuminated color panels. And near the rear of the lobby, wall sketches, which Disney said were painted by Pixar artists, evolve into lit CGI-like wire-frame portraits, attempting to show the evolution from hand-drawn to computer animation.

The art of the Pixar Place Hotel aims to show the evolution of computer animation.

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(Todd Martens / Los Angeles Times)

There’s a mix of styles, as much of the artwork was created specifically for the hotel. Across from the check-in desks, for instance, sits a “Finding Nemo” wall, where characters are seen in a more painterly presentation. The showcase piece of the lobby is a large mobile, situated above the Pixar lamp and ball, with abstracted, stained glass-like figures from “The Incredibles,” “Wall-E,” “Finding Nemo” and more. They are flanked by colored panels, which react to the music played in the area, an effect that is of course better seen in the evening.

“Pixar is a balance of sophistication and whimsy that really is core to their values,” said Kirstin Makela, an art director at Walt Disney Imagineering, the company’s secretive arm devoted to theme park experiences. “They’re a studio that’s been at the cutting edge of what they do. They take it very seriously that their characters are represented in that high esteem that they deserve because they are works of art.

“So it really is about creating a space that feels like a living art gallery that allows for the work to be elevated and feel celebrated, and allows for the work to get that dynamic pop of color and energy,” Makela continued.

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Inside the rooms

The revamped Pixar Place Hotel rooms have significantly more color than in prior incarnations.

(Todd Martens / Los Angeles)

Gone are the carpeted tan-and-beige-heavy rooms that marked the Paradise Pier Hotel, which seemed to be going for a sandy beach-type feel.

The remodeled Pixar Place rooms have wood panels for flooring, and are significantly brighter, thanks to a large Pixar mural above the bedding. The latter is a shift in hues, as the piece transitions from key scenes from Pixar films including “Up,” “Ratatouille,” “Toy Story,” “Finding Nemo,” “Soul,” “Coco”and “Inside Out.” The work is lit from the bottom, and has a brushed rather than CGI feel. It’s present in standard rooms and suites, and Disney said the goal was for it to look and feel something like a rainbow.

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There’s other Pixar art in the room, as above a red couch is a framed piece showing different characters — Bo Peep from “Toy Story,” Joe Gardner from “Soul,” Sadness from “Inside Out” — in varying states of movement. Disney credited the latter to Tasha Sounart, a creative director at the animation studio. Also included in the rooms is the hardbound “The Art of Pixar” book, and various depictions of the Pixar lamp and ball, from an actual lamp on the desk to traces of the ball and the lamp in the bedding, carpeting and decorative pillows.

Each room features the Pixar lamp that serves as the company’s logo.

(Richard Harbaugh / Disneyland Resort )

In describing the aesthetic, Imaginering’s interior design manager Tami Empero said, “The trend in hotels today are really neutral colors, like beiges and grays. We really focused on red, yellow and blue to drive home the Pixar theme.”

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A hotel with character(s)

At select times, a jazz musician acting as Joe Gardner from Pixar’s “Soul” will perform in the hotel lobby.

(Christian Thompson / Disneyland Resort)

The Pixar Place Hotel is unique in that it has exclusive character interactions to help give the space a sense of life and playfulness. On a third-floor pool deck, for instance, guests will find the pink, elephant-like creature Bing Bong from “Inside Out.”

And in the lobby, a piano will feature a jazz musician given a slight Joe Gardner makeover. Entertainment offerings will vary by day, but expect to find Bing Bong most mornings and afternoons near the pool, and jazz music is currently scheduled to be played five days per week, mostly in the evenings.

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Bing Bong from “Inside Out” will meet guests on the pool deck of Disneyland’s Pixar Place Hotel.

(Todd Martens / Los Angeles Times)

Imagineering also found some places for clever injections of Pixar personalities. Take, for instance, the pool deck’s fire pit, where flames sprout from fixtures designed to look like Anger from “Inside Out” or Ember from the more recent “Elemental.”

The pool deck is home, too, to a water slide for little ones featuring “Finding Nemo’s” turtle character of Crush and a splash pad that boasts a number of characters from the underwater film, including Hank and Dory. Notable design elements include lighting designed to mimic seaweed and some choral reef rockwork.

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A fire pit in the look of the character Anger from “Inside Out.”

(Christian Thompson / Disneyland Resort)

Some lesser known Pixar works are also highlighted outdoors near the pool, home to a walk-up window featuring salads, burgers, chicken fingers and the like, as well as frozen alcoholic floats. The outpost, dubbed Small Bytes, opens in March.

A gaming area features chess tables, a nod to the short “Geri’s Game,” as well as shuffleboard that references “La Luna” via star-affixed discs and a cornhole-inspired game that nods to the animation studio’s “Bao,” in which players will toss adorable dumplings into steamer baskets.

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Perks, dining, pricing and a piece of fine print

Southern California chain Great Maple operates the three dining areas of Pixar Place Hotel.

(Christian Thompson / Disneyland Resort)

While all Disneyland Resort hotels offer slightly earlier access to the parks (30 minutes before opening) — and Pixar Place is no different — the animation-focused hotel also has its own, relatively convenient entry to Disney California Adventure park. The gate is across the street from the hotel and tucked away next to the Grand Californian. Pixar Place Hotel guests can use it to enter and exit the park.

There are three dining options at the hotel, including the poolside walk-up window. The core restaurant is the latest outpost of Southern California chain Great Maple, which features a diner aesthetic and mostly comfort food options. Pixar Place is the first hotel at the Disneyland Resort to outsource its food offerings, meaning all three dining facilities are handled by Great Maple. I’ve only dined at Great Maple once, and opted for the $28 burger, a hearty offering albeit a bit on the pricier side for a family-focused theme park hotel. Near Great Maple in the lobby is the more casual Sketch Pad Cafe, a grab-and-go coffee shop. The hotel currently does not offer in-room dining.

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Great Maple does feature stoic, black-and-white portraits of Pixar characters, but its look slightly clashes with the rest of the hotel, as green-tinted bar seats and booths deviate from the Pixar colors featured so prominently elsewhere. A better fit would have been something more akin to the Lamplight Lounge, the Pixar-focused restaurant at Disney California Adventure that features music and artwork from the films, as well as menus and drinks that nod to the studio’s history.

While it’s worth noting that the Pixar Place aesthetic, from the lobby to the rooms, is a drastic improvement from the dated Paradise Pier Hotel, it can certainly no longer be considered a budget — or even low-priced —offering at the Disneyland Resort. In a sampling of room rates throughout the year, I found nothing lower than $405 per night for a standard room, and about $100 more for high-traffic holiday months.

Back in 2018, for instance, I stayed at Paradise Pier at a rate of $327.60 per night. I did stop staying at the hotel because it’s not the quietest of places to sleep, meaning you will hear the alarm clocks of neighboring rooms, as well as any loud guests, some coughs and sneezes included. Since this is a family-focused hotel, expect that it will be on the noisier side.

So if you opt for this locale, maybe just use those Bluetooth-enabled alarm clocks to play the “Soul” soundtrack on repeat as a bit of low-level white noise.

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‘Hellions’ author Julia Elliott wins $150K fiction prize

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‘Hellions’ author Julia Elliott wins 0K fiction prize

Author Julia Elliott won for her short story collection Hellions.

Forrest Clonts/Tin House


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Writer Julia Elliott has won this year’s Carol Shields Prize for Fiction for her short story collection Hellions. The award honors work by women and nonbinary authors in the U.S. and Canada.

Elliott, who also authored the novel The New and Improved Romie Futch and the short story collection The Wilds, is known for blending elements of Southern gothic horror, surrealism and fairy tale. Hellions, published in 2025, includes stories set against backdrops like a plague-stricken medieval convent, a feminist art colony, and small Southern towns.

“This eerie, eclectic, genre-leaping collection takes no half-measures; every sentence of Hellions crackles or crawls,” wrote the prize jury in a statement. “Here, human folly moves against a backdrop of horror and magic … But for all its wildness, there is tremendous control.”

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The prize, named after a Pulitzer Prize-winning novelist, awards $150,000 to one winner each year. Novels, short story collections, and graphic novels by women and nonbinary authors are eligible.

This year’s finalists included Quiara Alegría Hudes (The White Hot), Lee Lai (Cannon), Megha Majumdar (A Guardian and a Thief), and Sonya Walger (Lion). They will each receive $12,500.

The Carol Shields Prize went to writer Canisia Lubrin in 2025.

You can listen to actor Donna Lynne Champlin read Elliott’s story “Hellion” on the Death, Sex & Money podcast here.

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Video: The Fashion References in ‘Cats: The Jellicle Ball’

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Video: The Fashion References in ‘Cats: The Jellicle Ball’

new video loaded: The Fashion References in ‘Cats: The Jellicle Ball’

Cats: The Jellicle Ball” has received nine Tony nominations, including one for Qween Jean, the costume designer. Our chief fashion critic, Vanessa Friedman, joins our chief theater critic Helen Shaw to talk with Qween Jean and to uncover some of the show’s hidden references.

By Helen Shaw, Vanessa Friedman, Léo Hamelin, Laura Salaberry and Sutton Raphael

June 2, 2026

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Inside the all-masc lesbian and translesbian revue electrifying L.A. nightlife

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Inside the all-masc lesbian and translesbian revue electrifying L.A. nightlife

At around 1 in the morning at the Sassafras Saloon in Hollywood, four masc lesbians in cowboy hats and chaps were dancing on top of the bar while bartenders attempted to continue making espresso martinis beneath them.

One performer crawled into the crowd and between the spread legs of an audience member, licking the air between their thighs. Another wrapped a belt around their girlfriend’s neck while thrusting against her to Bon Jovi’s “You Give Love a Bad Name.” The ravenous audience, almost entirely women, fluttered dollar bills all around, while easily filling the saloon’s 300-person capacity.

Across Los Angeles, countless strip clubs and revue shows were unfolding at that same hour, though none quite like this and likely few provoking this level of frenzy. The night had all the riotous energy of a scene from “Coyote Ugly,” with the choreographed masculinity of “Magic Mike.” Playing on the latter’s name, this was the doing of Magic Mascs, an all-masc lesbian and translesbian revue, by sapphics for sapphics.

Skye Valentinez, from left, Alexa Legend, Daddii Syd and King Captain are members of Magic Mascs, an all-masc lesbian and translesbian collective, that started in February.

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“Our idea was to give lesbians what men get all the time at a strip club, but instead of just sitting around and singing ‘Pink Pony Club,’ actually going wild,” said group founder Daddii Syd, a.k.a. Syd Latimore.

The performers, self-described “daddies” — Daddii Syd, Alexa Legend, Skye Valentinez and King Captain — formed Magic Mascs in February. The performance at the Saloon was their third overall, but the group has already become an institution within lesbian nightlife in Los Angeles. They will make their debut during a Pride Month performance on Friday at Womxn Pride’s rooftop party in downtown L.A.

The members come from professional dance backgrounds. King Captain entered dance school at age 12 and taught dance for nearly a decade. Daddii Syd has danced since childhood. Alexa Legend spent years go-go dancing across clubs in the city before joining the troupe. Skye Valentinez, the baby of the group — cherub-faced, smiling through braces — is the newest to performing, though she steps into it naturally, exhibiting the same living, breathing caricature of masculinity as the rest of them.

“No one’s trying to be cisgender,” King Captain makes clear. “We’re not trying to be the kind of men who are born into and fed by patriarchy,” Daddii Syd added. “We’re redefining masculinity.”

King Captain gets their underwear stuffed with dollar bills from the crowd.

King Captain gets their underwear stuffed with dollar bills from the crowd.

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Magic Mascs’ success follows a broader trend of lesbians confidently stepping into masculinity before hungry eyes. In the past year, performative masc competitions have appeared across the country, with lesbians — hair slicked back and carabiners dangling from their Carhartt jeans — showing off in front of leering crowds. Magic Mascs feels like a more professionalized version of that phenomenon, less tongue-in-cheek — just tongue.

“We always knew there was a huge hunger for this,” Daddii Syd said.

Their first performance, in San Diego, sold out fast.

“I knew right away we were onto something special,” Daddii Syd said.

Videos of the troupe traveled far across sapphics’ algorithms, especially clips of King Captain, whose devoted fan base — known collectively as “The Castle” — make arduous trips just to see them in the flesh. One fan drove more than 20 hours from Dallas to San Diego to see Magic Mascs. Another sent an edible fruit bouquet from Australia.

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Backstage, every gesture from the troupe was ultra-confident. Captain, wearing briefs stuffed with a sock full of rice, talked to me with a leg cocked on the footrest of my stool. Daddii Syd, Alexa Legend and Skye Valentinez stood pelvis-forward, hands behind their heads, flexing ropey muscles. They loved the camera, eyeing it like prey while tipping the brims of their cowboy hats. (“You guys are like the modern-day Beatles,” our photographer said.)

King Captain gets the Hollywood crowd into a frenzy during a recent show.

King Captain gets the Hollywood crowd into a frenzy during a recent show.

Everything in the show revolved around their hips. The performers rolled and glided before delivering sudden, mechanical thrusts powerful enough to rattle nearby glasses. Their bodies were taut with effort and exaggerated lust. Daddii Syd performed with her girlfriend Jamie in matching plaid, not leaving much to the imagination as they licked whipped cream off each other.

Alexa Legend, who described herself as shy offstage, eventually stripped down to nipple pasties and a cowboy hat, firing confetti from her crotch into the crowd. King Captain swerved their hips like a powerful mechanical bull. “Oh, Captain, my captain,” someone in the crowd said, hand pressed dramatically to her forehead.

They paid particular attention to a woman in a wheelchair in the crowd — typical of their performances — asking if they could sit on the wheelchair. They received keen consent. “That was, um, very nice,” she told me after, still a little lost for words.

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“We’re huge on consent,” Daddii Syd said. At the start of the show, they told the crowd to cross their arms in a Wakanda Forever pose if they didn’t wish to be touched. They checked in constantly while moving through the crowd, leaning close to ask questions like, “Is this OK?” and “Anywhere you don’t like to be touched?”

Captain learned these habits through work in intimacy coordination and under the mentorship of Tonia Sina, among the first professional intimacy coordinators in Hollywood. That ethos of care extended beyond their interactions with the audience and into the way they interacted with one another offstage.

Performer King Captain of Magic Mascs take a tip from a fan.

“We want everyone in the crowd to feel gorgeous,” King Captain said before the recent show at Sassafras Saloon in Hollywood.

Performer King Captain, left, and Lauren Henson, a stage kitten for the group, perform together on the bar.

King Captain, left, and Lauren Henson, a stage kitten for the Magic Mascs, perform together on the bar.

Forming a sanctuary for themselves was just as important to the troupe as emboldening others’ desire. “It’s hard to find other masc friends,” Daddii Syd said. “Everybody’s weirdly competitive and trying to sabotage each other.” King Captain agreed, asking: “Why can’t we all be daddies at the same time?”

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Daddii Syd and King Captain, who are both in their 30s, had little butch representation or friendship growing up and they have now become something like father figures to Alexa Legend and Skye Valentinez, who are in their 20s.

“We have to protect each other,” King Captain said. “We have to look out for each other.”

Daddii Syd put her arm around Skye Valentinez and said: “Look at this beautiful baby we have.”

That tenderness carried straight into the night. There was a striking seriousness to the whole performance, which spanned from just past 10 p.m. to 2 a.m. Unlike a bachelorette party or the typical male revue, there was no giggling in the room, and no wink of camp from the performers. Here was a rare claim to unabashed public sapphic desire; it was given the scale and seriousness routinely afforded to heterosexual display, like the gleeful bravado of a man striding into Hooters.

By the end of the night at Sassafras Saloon, the performers had stripped down nearly to nothing, pouring water over themselves while the audience roared. The atmosphere felt like one of collective release, a recognition that masculinity and desire don’t belong only to men — that a group of four masc lesbians can be horny, inspire horniness and ultimately stir a hysteria that once greeted Channing Tatum or even the Beatles.

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It was the magnitude of the response that night at the Saloon, as on every other night they’ve performed, that’s inspiring their next moves: total domination in sum. The troupe is already planning a national tour through Florida, Dallas and Sacramento, though Daddii Syd’s ambitions extend much further.

“The idea,” she told me, “is to go global. Like a boy band.”

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