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makelemonade · 4 days

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smut scenarios with genshin men

ayato, neuvillete, pantalone, diluc, wriothesly, childe, dottore (?), capitano, pierro- his maid/assistant

he loved how cute you were; How you always pulled your skirt up and showed off your thighs; How you always had your hair done, as if you had someone to impress.

You had him to impress, actually. He watches you bend down with a sharp eye, feeling himself harden just at the show of extra skin and excuses himself as he goes to the privacy of his office, jerking off as he imagines you bending over his lap as he spanks the revealed skin that just sends him haywire.

He starts requesting you stay late while the other workers go home, and he hopes you don't see through his facade but you oh so clearly can and you of course accept the request.

One night, you can hear him groan from the stress of his constant work and you knock at the door, waiting for his tired voice to speak.

"Come in,"

You walk in, and slight surprise overtakes him but there's a happy spark in his eyes. "Y/N, to what do I owe the pleasure?"

"I just thought you could use some help with your work," You spoke slyly and innocently as you walked up to his desk/

He looked at you confused, "What do you- oh,"

He lets out a groan when your fingers started to firmly yet softly dig into his back, hitting all the right spots as he completely relaxes.

He wants to say this is unprofessional- you're his boss! But was jerking off to you and fantasizing about you professional? No.

That was his reasoning for his boldness when he speaks. "You know, I'm feeling rather sore...down here."

That is how you find yourself in his lap, bouncing on his fat cock as you tried to stay quiet, but it was hitting such amazing spots and so deep into you that you couldn't help yourself but to scream his name.

"nghh- oh! yes, yes!"

If it was possible, it was turning him on even more- watching you struggle to take his large size but still trying to ride him just to be his stress relief. Instead, he decides to thrust up into you, making you stop trying and instead lean against him, wrapping your arms around him as he placed his hands on your hips, taking the lead and sending you into purebliss.

"oh~ oh! fuck...so deep!"

"if you're truly so keen on being such a good stress relief for me, well, then I hope you don't mind if I rail you for the rest of the night...and possibly every other.

thoma, kaeya, kazuha, Itto, aether, albedo, zhongli - a shrine maiden (or anything related in the other regions)

He doesn’t know what it is but there’s something about your innocence that he just needs to ruin.

Well, not ruin: he thinks it’s adorable, but he knows that one day someone else will see you in a way he fantasizes about late at night and he is determined to become that person because no one else deserves to see you in a way like that other than him.

He takes more frequent trips to where you work, to the point that it’s so often you find yourself hugging him when you see him and you don’t think about the way he holds on tightly, hands right above your ass.

However, you weren’t as innocent as he thought. Sure, you were completely oblivious ro the truth behind his actions but late at night, there was a possibility you had the same fantasias about it too. But you couldn’t show it to him! No, you had a job to do and it was to stay pure.

You just loved the way his touches were so teasing as they lingered near the places you oh so wish you could take care of.

It becomes so bad it starts to ache, and you find yourself at his door after coming back from work, needing his help for this relief and he is so happy to oblige.

Tears streamed down your face, moaning at how good his cock felt as it pushed into you so deeply, hitting all the spots your fingers never could.

“f-faster…” You gasped, “please!”

He could only let out a deep chuckle, his movement becoming harsher that anyone who even walked nearby the house could hear the slick noises.

“You’re gonna make me cum, darling.”

“In me!” you whined, trying to push yourself further onto his dick and he laughed. “f-fill me up!”

“Such indecency, dear. No one can know how much of a slut you are; it’ll ruin your image! That means you must always come to me for this, got it?”

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koufax73 · 2 years

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Cascate, "Fantasia": recensione e streaming

È in uscita per V4V "Fantasia", il nuovo ep dei Cascate. Il duo romano dal cuore vintage realizza un ep figlio di tempi incerti

È in uscita per V4V Fantasia, il nuovo ep dei Cascate. Il duo romano dal cuore vintage, dopo i primi singoli che hanno anticipato il progetto discografico, Routine, Quando vai via, e la recente title track disponibile dallo scorso 6 maggio, realizza un ep figlio di tempi incerti, ma che trova una via d’uscita nella stessa musica, vista come rifugio, tra sonorità pastello e…

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#2022 #cascate #emergenti #fantasia #genere musicale #musica indipendente #recensione #spotify #streaming

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bunchashapes · 1 month

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today at about 4pm pt i am going to start streaming ARC RISE FANTASIA and hopefully keep going weekly until i’m done with it. see you then

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quitealotofsodapop · 3 months

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In the Wukongverse, who are the bigger Disney fans??

(asking since I've been on a metal Disney kick)

Smokey would rock Poor Unfortunate Souls by Jonathan Young but would get so into it he needs his Macaque cuddles afterwards to right his head (self demon issues, he is a hero but he also tricked people in the past and is on his journey to change and be good)

While Cherry on the other hand would hands down have fun singing Peyton Parrish's version of I'll make a man out of you since he just started his journey and his pilgrim brothers could use the advice.

The LMK Wukongs love themselves some animation goodness! Mostly to chill after a rough day. Wrap up in a blanket, stick on a film he's seen a million times, Eat some peach chips; he's a happy monkey.

LMK Macaques get distracted by the animation!! Cus? "Peaches look! They're using layered paintings to simulate movement!!" Their faves are Fantasia ( Original and 2000) naturally cus of the high animation quality set to classical music. Dawn/Peach walk in one day and find their Dusk/Plum on the ground crying while watching the cut Dali "Destino" segment.

MK's fave is "Treasure Planet". Try not to ask why or he will change the subject and switch on "Princess and the Frog".

Dasheng doesn't really care, but he watches them anyway cus Liuer and the rest of the kids really like them. He's embarassed to admit that he can sing every line of "Beauty and the Beast" perfectly. Also good date night movies - Zhanshi's fave are the fairytale romances. <3

Smokey don't care about the cartoons, but he does get down to the villain songs. Blasting "Poor Unfortunate Souls" and "Hellfire" so hard that his LEM has to step in to calm him down. Liang is more interested in the technical side of the works, but he just beams with joy whenever the babies chirp/bark excitedly at that opening logo. Shared fave is "The Little Mermaid" naturally (though Sandy argues that it's not an accurate depiction of sea fish demons).

Ace and Joker pretend that they don't care, but you know these goobers take the kids and grandkids to Disneyland whenever they have the excuse. Lots of the classics (since they just got made in their universe) and shared infodumping. Ace will send the other SWK's classic Donald Ducks and Goofy cartoons in the group chat without context.

Cherry and Olive are equally super excited cus "Moving paintings!! Heck yeah!". Cherry's faves are the og animated "Mulan" and "Lilo and Stitch" without question. The latter caught him by surprise cus it made him remember who he's always felt like "a weird little alien" on earth, and Lilo and Nani remind him of Lin. ;_; Olive is just delighted to watch anything Cherry is super-hyped about, and they both hoot happily at the tv together.

Shihou and Mihou are kids and they love cartoons no question. Shihou likes the Milt Kahl-era ones like "Sword in the Stone" and "The Jungle Book" cus he vibes with the themes of growing up, but he finds the romantic ones boring. Mihou in contrast secretly adores the classic "princess" movies like "Sleeping Beauty" and "Cinderella" cus of the sweet stories and music. Shihou will watch Mihou's "boring" films with him without complaint cus he knows how much his opal love them.

Sugar likes the "roadtrip" movies the most; "Atlantis", "Treasure Planet" etc. He's still technically on his Journey, and he loves hearing/seeing tales of others. Spice is pretty shy to voice his opinions but... he likes "Pinocchio" the best - the concept of being created and having to adapt to the world mostly-made tickles his brain in a good way.

Starfruit don't care. Why should he? He knows the real guys! He sees Peter Pan on the regular in the Library! Lilac is the complete opposite, they hold streaming parties with associated Legends to watch their "adaptations" and critique them based on accuracy vs execution. Starfruit joins in, only because he, Goldie, and Peter get to read the movies to filth in the group chat XD

Two movies that hold a place in all their hearts are:

Hercules: Themes of obtaining godhood, heroism, an unclear purpose, goth gf, and weird horses.

Moana: Island life, wanting to explore farther, doing what you can for your people, the inherit tragedy of demi-gods, the whole Te Kā situation...

#wukongverse #sun wukong #liu er mihou #six eared macaque #lego monkie kid #lmk #monkey king hero is back #monkey king reborn #new gods nezha reborn #the monkey king 2023 #monkey king netflix #journey to the west legends of the monkey king #mei hou wang 2009 #meihouwang #smash legends #disney

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gamerbot-22 · 2 years

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I wish paleontologists didn’t get rid of the old theory records.

DNI

After I showed my friend Primal last month I decided to show her the dinosaur/Rite of Spring segment of Fantasia and afterwards we ended up getting into a conversation about Paleontology and how theories have changed over the years.

One of the little factoids people throw around about the RoS segment of Fantasia is that the reason we see the dinosaurs wandering the desert and slowly starving to death instead of getting wiped out by a meteor is because the film was made before that was a widely accepted and proven theory.

Supposedly (I’ll get back to the supposedly) when the film was released the biggest theory was that a world-wide drought happened for whatever reason (again, I’ll get back to this) and because of that, all the big herbivores and carnivores died slowly as the food chain wasted away from the ground up.

The thing is I can’t fact check if that’s real or read about that theory because it’s literally fucking impossible to find those theory papers or journals because they just. Don’t easily exist on the internet. No one that I found thought to scan those in or release them to the modern public.

And every decade or so BBC or the Discovery Channel or Animal Planet will produce and publish some new dinosaur documentary with ✨brand new graphics✨ and ✨the most accurate info ever✨ and will pull all the old stuff from circulation and that SUCKS!!!

Like yeah, I loved seeing the Carnataur dance like a tropical bird in Dinosaur Planet, but now the only way for me to watch my favorite dinosaur documentary, Plant Dinosaur (man, BBC doesn’t have a lot of naming idea for Dino docs,) is in segments on YouTube that could get copyright strikes any day now even though there’s literally no legal way to consume it anymore so BBC wouldn’t actually make any money off it.

I don’t care if Disney animated the T-Rex standing upright with its tail dragging on the ground. I don’t care if a plesiosaur skull got stuck on its ass instead of it’s neck. I know it’s all incorrect and science has evolved but I want to watch it evolve.

At this point it kind of feels like human history is going the way of the dinosaur. There’s entire libraries of old studies now that are just lost to time because they’ve since been proven wrong and that sucks! This is the intersection of anthropology and paleontology and it barely exists now aside from a few rumors without anything to back it up.

Tl;Dr: Even if a scientist got it wrong, they shouldn’t toss out their journal. Some people will still want to see their work. (EDIT 08/09/2022: SO this actually isn't up to the paleontologists but more about copyright law and the lack of time and funding that goes into paleontology! If you live near a museum or university some journals might still be around but online it's kind of slim pickings for accessible stuff aside from websites like Internet Archive.

And I also made it sound like I was blaming paleontologists for pulling docuseries and while that wasn't what I meant, I'm still sorry I wasn't clear! That's more of a corporation and copyright thing but at this point I don't think there's much of an excuse for something not to be on a streaming service.)

#Rosie Rambles #Listen I just really like dinosaurs ok #Like ever since I was a little little kid #And I want to know more about their history with humans!!!#Dinosaurs #Paleontology #Anthropology #Fantasia #Genndy Tartakovsky’s Primal

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invisibleicewands · 1 month

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Michael Sheen is tremendous as NHS founder Aneurin Bevan, even if the play’s fear of bio-drama cliches gets a bit much

The British, in case you hadn’t noticed, tend to get a little sentimental about the NHS.

So it’s understandable that playwright Tim Price and director Rufus Norris are wary of dewy-eyed hagiography when approaching ‘Nye’, a new biographical drama about Aneurin Bevan, the firebrand Labour health minister who founded the service. With the title role played by the great Michael Sheen, there is a danger of going OTT in having the nation’s favourite current Welshman star as the nation’s favourite historical Welshman. And so Norris’s production has a determinedly trippy quality intended to counter the cliches.

Billed as an ‘epic Welsh fantasia’, ‘Nye’ is largely presented as the stream-of-consciousness of an older Bevan, who is a patient in one of his own hospitals. There for an ulcer operation, he drifts in and out of the present and into recollections of his past, unaware he is dying of stomach cancer – something his MP wife Jennie Lee (Sharon Small) has determinedly kept from him.

Crowned by a truly uncanny wig, Sheen is a delight as the fiery but unassuming Bevan. He never at any point changes out of his red striped pyjamas, a pleasingly absurdist touch at the heart of Norris’s stylish production, in which the green hospital ward repeatedly dissolves into the past to the sound of wheezing lungs.

It’s otherworldly in places, especially the scene where Tony Jayawardena’s overbearing Churchill collars Bevan in the Commons and groups of teacup-clutching MPs try to eavesdrop, moving like insectoid predators under Stephen Hoggett and Jess WIlliams’s unsettling choreography.

Really, though, once you get past all the cool stuff, you’re left with a fairly conventional drama, jumbled up. Bevan’s memories of the past come at us in roughly chronological order. There’s a definite artistic licence at work as we see schoolboy Nye - still played by Sheen - overcome a bullying teacher and absorb his local library, hungry to find synonyms for words that trigger his stammer, setting himself on the path to becoming a great orator. But the meat of ‘Nye’ does lie with relatively factual accounts of incidents from Bevan’s life - his scenes in Parliament are particularly riveting, as he is doggedly determined to criticise Churchill’s wartime government, to the chagrin of his boss Clement Atlee (Stephanie Jacob).

I understand the logic in, say, not having Sheen simply parrot Bevan’s big speeches to rabble-rousing effect. But all the hopping around leaves ‘Nye’ somewhat lacking in connective material. It’s never especially clear, for instance, why Bevan is so much more radical and uncompromising than his Labour colleagues. It sometimes feels like we’re seeing his life on shuffle, when a straight playthrough might have said all the same things, but more clearly.

Don’t get me wrong, if it had been a balls-trippingly weird avant-garde odyssey I’d have doubtless been all over it. There’s a big mid-show song and dance number that hints at a much weirder production. Unfortunately, this production never emerges. It feels like ‘Nye’ desperately wants to avoid looking like an Inspirational Drama About The Founder Of Our NHS, but doesn’t have a clear formal plan beyond that.

However, if the whole isn’t quite there, most of the individual scenes are scintillating. And there’s no sense of embarrassment from Sheen, who is magnetic as Bevan - a decent, even slightly bewildered man, who nonetheless feels pathologically drawn to doing the right thing, no matter the odds.

#Michael Sheen #Nye #theatre #National Theatre #NHS #Aneurin Bevan #review

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iwanthermidnightz · 9 months

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As Taylor Swift rolled into Los Angeles this week, the frenzy surrounding her record-breaking Eras Tour was already in high gear.

Headlines gushed that she had given $100,000 bonuses to her crew. Politicians asked her to postpone her concerts in solidarity with striking hotel workers. Scalped tickets were going for $3,000 and up. And there were way, way too many friendship bracelets to count.

These days, the center of an otherwise splintered music world can only be Taylor Swift.

The pop superstar’s tour, which is now finishing its initial North American leg with six nights at SoFi Stadium outside Los Angeles, has been a both a business and a cultural juggernaut. Swift’s catalog of generation-defining hits and canny marketing sense have helped her achieve a level of white-hot demand and media saturation not seen since the 1980s heyday of Michael Jackson and Madonna — a dominance that the entertainment business had largely accepted as impossible to replicate in the fragmented 21st century.

“The only thing I can compare it to is the phenomenon of Beatlemania,” said Billy Joel, who attended Swift’s show in Tampa, Fla., with his wife and young daughters.

In a summer of tours by stars like Beyoncé, Bruce Springsteen, Morgan Wallen and Drake, Swift’s stands apart, in numbers and in media noise. Although Swift, 33, and her promoters do not publicly report box-office figures, the trade publication Pollstar estimated that she has been selling about $14 million in tickets each night. By the end of the full world tour, which is booked with 146 stadium dates well into 2024, Swift’s sales could reach $1.4 billion or more — exceeding Elton John’s $939 million for his multiyear farewell tour, the current record-holder.

Swift has now had more No. 1 albums on the Billboard 200 over the course of her career than any other woman, surpassing Barbra Streisand. With the tour lifting Swift’s entire body of work, she has placed 10 albums on that chart this year and is the first living artist since the trumpeter and bandleader Herb Alpert in 1966 to have four titles in the Top 10 at the same time.

“It’s a pretty amazing feat,” Alpert, 88, said in a phone interview. “With the way radio is these days, and the way music is distributed, with streaming, I didn’t think anyone in this era could do it.”

But how did a concert tour become so much more: fodder for gossip columns, the subject of weather reports, a boon for friendship-bracelet beads — the unofficial currency of Swiftie fandom — and the reason nobody could get a hotel room in Cincinnati at the end of June?

“She is the best C.E.O., and best chief marketing officer, in the history of music,” said Nathan Hubbard, a longtime music and ticketing executive who co-hosts a Swift podcast. “She is following people like Bono, Jay-Z and Madonna, who were acutely aware of their brands. But of all of them, Taylor is the first one to be natively online.”

Before Eras, Swift hadn’t been on tour since 2018. And her catalog has grown by seven No. 1 albums since then, fueled in part by three rerecorded “Taylor’s Versions” of her first LPs — a project hailed by Swift’s fans as a crusade to regain control of her music, though it is also an act of revenge after the sale of Swift’s former record label, a move that, she said, “stripped me of my life’s work.”

“Folklore” and “Evermore” expanded her palate into fantastical indie-folk and brought new collaborators into the fold: Aaron Dessner from the band the National and Justin Vernon, a.k.a. Bon Iver, rock-world figures who helped attract new listeners.

The other major tour this year that is enticing fans to book transcontinental flights, and to show up costumed and in rapture, is also by a woman: Beyoncé, 41, whose Renaissance tour is a fantasia of disco and retrofuturism. Like Swift, she is also a trailblazing artist-entrepreneur, maintaining tight control over her career and fostering a rich connection with fans online. Together with Greta Gerwig’s “Barbie,” a critique of the patriarchy told in hot pink, they are signs of powerful women ruling the discourse of pop culture.

But in music, at least, the scale and success of Swift’s tour is without equal. Later this month, after completing 53 shows in the United States, she will kick off an international itinerary of at least 78 more before returning to North America next fall. Beyoncé’s full tour has 56 dates; Springsteen’s, 90. (Recently, Harry Styles wrapped a 173-date tour in arenas and stadiums, grossing about $590 million.)

Outside Arrowhead Stadium in Kansas City, fans posed for selfies and shared their ticketing ordeals. Esmeralda Tinoco and Sami Cytron, 24-year-old former sorority sisters, said they had paid $645 for two seats. A stone’s throw away, Karlee Patrick and Emily DeGruson, both 18 and dressed as a pair in angel/devil costumes after a line in Swift’s “Cruel Summer,” sat “Taylorgating” at the edge of the parking lot; they said they had paid $100 for parking but couldn’t afford tickets.

As Swift’s opening acts finished, the crowd rushed in. Glaser, the comedian, later said that of the eight shows she had been to, her favorites were the ones where she had brought her mother — and converted her to Swiftie fandom.

“Everyone is in love with her,” Glaser said her mom told her after one show in Texas. “Now I get it.”

#simply amazing #she deserves the world #taylor swift #the eras tour

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80linesofvirgil · 1 year

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I made a Patreon, gonna post more thoughts on my pieces, sketches, WIPs, talk world-building and characters, hopefully do some streams. Never used it before so any suggestions are very welcome.

Would be amazing if you could support me on there but only if you're able. I will always post the Gay Fantasia pieces on here, patrons will just get them sooner. x

#my art #gay fantasia #patreon

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maxkirin · 3 months

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youtube

IT'S TIME

I'm back on the RPG design train with a brand-new game! I'm writing/designing live on stream today, so come enjoy listening to me ramble about goblins (oh how i love them) and math (oh how i hate it)

Live Now 🌎⚔ youtube.com/mistrekirin

#live now #my stream #writing #design #ttrpg #ttrpg design #rpg design #rpg writing #writing stream #design stream #ferrum fantasia #ff #my games #vtuber #envtuber #Youtube

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kylesvariouslistsandstuff · 2 months

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The Weird History of Western Animated Movie Sequels

This is a rewrite of sorts of a history post I did on theatrical animated movie sequels in the West (largely the U.S.) a few years ago, and how weird it is... How we went from a handful of sequels over the course of three decades to an *explosion* in them... I'll collect all this fun stuff in a timeline of sorts.

(This list will mainly focus on traditional sequels, not so much films sharing similar themes and FANTASIA being planned as an ever-updating anthology w/ every re-release had it done well initially. And also, theatrical sequels. With the exception of movies re-routed to streaming because of COVID-19. That sorta thing, ya know?)

Late 1930s-Mid 1940s: Walt Disney and his studio entertain the idea of sequels to SNOW WHITE AND THE SEVEN DWARFS and BAMBI, titled SNOW WHITE RETURNS and BAMBI'S CHILDREN. Nothing comes of them. If FANTASIA is to be successful, Walt's plan for the film is to update it every couple of years, taking some segments out and replacing them with new ones. And repeating that once more. FANTASIA bombs at the box office upon general wide release in early 1942, so the plans fall through. A feature film BONGO is developed at the beginning of the decade, and at one point it is suggested to be set in the same universe as DUMBO and would feature characters from that film. BONGO eventually became a much pared-down segment of the package film FUN & FANCY FREE in 1947.

1942-1944: Disney and their distributor RKO Radio Pictures release two anthology "package" features, SALUDOS AMIGOS and THE THREE CABALLEROS. During World War II, Nazi influence began to take shape in Central and South America. American filmmakers, including Walt Disney and a select team of his artists, traveled south in part of a larger government strategy to strengthen goodwill between the U.S. and Central/South America. SALUDOS and CABALLEROS are thus "goodwill" pictures, formed up of multiple segments themed around those territories. Both of them feature Donald Duck and Jose Carioca. Because of this, CABALLEROS could be viewed as a "sequel" of sorts to SALUDOS.

April 1946: Disney and their distributor RKO premiere MAKE MINE MUSIC, an anthology of musical segments not dissimilar to FANTASIA. The picture goes into general release in August.

May 1948: Disney and RKO release MELODY TIME, another musical anthology film. The film notably features both Donald Duck and Jose Carioca in a segment called 'Blame It On the Samba', reprising their roles from SALUDOS AMIGOS and THE THREE CABALLEROS. The Aracuan Bird from CABALLEROS also appears during this segment. Like MAKE MINE MUSIC, these two films can be seen as an extension of the FANTASIA concept, and MELODY TIME could be seen as a sequel of sorts of MAKE MINE MUSIC. The Disney company never considered any of these films to be "sequels", at least in a more traditional sense.

We have a long gap here because Walt Disney Productions was the only animation studio in America that was making feature films, and there were plenty of times where they could've ceased doing just that. Couple that with Walt's general hesitance to make sequels, and thus there weren't any animated feature sequels made from the 1950s to the end of the 1960s... Other animation studios in America had attempted to make features, but never got past a small number of them. The Fleischer studio made both GULLIVER'S TRAVELS and MR. BUG GOES TO TOWN in 1939 and 1941 respectively, and their studio was shuttered shortly after BUG's quiet and brief general release rollout in early 1942. The UPA tried their hand at animated features, but only got around to making two, 1001 ARABIAN NIGHTS and GAY PURR-EE.

By the 1960s, more animation studios were making feature-length productions, such as Hanna-Barbera and Rankin/Bass. By 1970, there was at least one new movie from an American house every two-or-so years. A good chunk of them were also based on hit TV shows or well-known properties. Hanna-Barbera did features based on THE YOGI BEAR SHOW and THE FLINTSTONES, there was also a PEANUTS-based movie called A BOY NAMED CHARLIE BROWN. Ralph Bakshi shook up the animation world with his adult independent feature FRITZ THE CAT in early 1972.

A BOY NAMED CHARLIE BROWN and FRITZ THE CAT would be the first American animated movie sequels to get theatrical sequels...

August 1972: PEANUTS movie SNOOPY COME HOME!, a follow-up to A BOY NAMED CHARLIE BROWN involving much of the same key crew (such as director Bill Melendez and producer Lee Mendelson), is released by National General Pictures to poor box office.

June 1974: THE NINE LIVES OF FRITZ THE CAT, a sequel to Ralph Bakshi's FRITZ THE CAT that didn't involve Bakshi, is released by American International Pictures and doesn't repeat the success of the first movie.

August 1977: RACE FOR YOUR LIFE, CHARLIE BROWN is released by Paramount, and doesn't make much of a mark at the box office.

Late 1970s: Despite the success of Ralph Bakshi's rotoscoped THE LORD OF THE RINGS in the fall of 1978, a follow-up is considered but does not materialize due to funding issues.

May 1980: BON VOYAGE, CHARLIE BROWN (AND DON'T COME BACK!!) is released by Paramount to weak box office.

1984-86: After much turmoil, the Disney enterprise sees a major corporate shakeup. Outsider executives Michael Eisner and Frank Wells become CEO and President of the newly-christened The Walt Disney Company, respectively. Upending the old tradition of not making feature sequels, Michael Eisner and the new executives ask the staff of the animation studio what their highest grossing feature was to date. When revealed that it was THE RESCUERS, a sequel to the film is greenlit.

March 1986: A fast-tracked sequel to 1985's THE CARE BEARS MOVIE is released, and only makes a fraction of what the first film - a minor hit in its own right - took in.

August 1987: A third Care Bears movie, THE CARE BEARS ADVENTURES IN WONDERLAND, is released to equally unremarkable box office.

1988-89: Following the record-breaking, game-changing success of ex-Disney animator Don Bluth's Steven Spielberg-produced AN AMERICAN TAIL in 1986, a sequel is put in development, with Bluth initially tapped to helm. Bluth later broke ties with Spielberg over creative differences, and following the runaway success of WHO FRAMED ROGER RABBIT, Steven Spielberg would set up a new animation studio called Amblimation. They took over the film.

November 1990: THE RESCUERS DOWN UNDER is released to mixed critical reception and weak box office. Within weeks of release, Disney chairman Jeffrey Katzenberg has all the marketing for the film pulled.

May 1991: Computer animation studio Pixar enters a feature film deal with The Walt Disney Company. This three-picture deal, which would later be expanded, stipulates that NO sequels be pitched. Every film pitched by Pixar for this contract is to be an ORIGINAL film, for the sole purpose of introducing new worlds/characters for the company's theme parks and consumer products divisions.

November 1991: Universal releases AN AMERICAN TAIL: FIEVEL GOES WEST, the same weekend as Disney's BEAUTY AND THE BEAST. The film flops at the box office.

Mid 1991-Early 1992: Walt Disney Home Video initially refuses, at Roy E. Disney's behest, to release FANTASIA on video formats following its 1990 theatrical re-release. Michael Eisner makes a deal with Roy: Release FANTASIA on video, and a follow-up to FANTASIA will be greenlit. FANTASIA is released in November and pulled by January 1992, selling a record-breaking 14 million units. FANTASIA CONTINUED is greenlit.

Mid 1994: Following the success of THE RETURN OF JAFAR, which was essentially an hour-long direct-to-video pilot for the ALADDIN TV series, Disney Feature Animation does not pursue making sequels to their animated features. The only exception being FANTASIA CONTINUED, which is Roy E. Disney's pet project. All other sequels are to be outsourced productions, and are produced exclusively for the home video market.

March 1996: A sequel to Don Bluth's ALL DOGS GO TO HEAVEN, which didn't involve Bluth much like FIEVEL GOES WEST didn't, is released to poor box office.

Early-Mid 1996: Following the success of Pixar's debut feature, TOY STORY, Disney immediately commissions a direct-to-video sequel that is to be made by "B-team" of sorts at a satellite studio, while work on A BUG'S LIFE takes place at Pixar's main building in Point Richmond. (This was before they moved to Emeryville.)

July 1997: Legacy Releasing released a sequel to THE SWAN PRINCESS, titled THE SWAN PRINCESS: ESCAPE FROM CASTLE MOUNTAIN, to virtually nonexistent box office grosses.

February 1998: TOY STORY 2 is changed from direct-to-video project to theatrical feature film, though it will not count as part of Pixar's then extended film deal with The Walt Disney Company. That very contract mandated that all of Pixar's productions be original features, or else they wll NOT count as part of the deal. Pixar and the Disney company also enter a gentleman's agreement, in that Disney will not push sequels to Pixar films *without* Pixar's permission.

Early 1999: TOY STORY 2 is taken over by the staff at the main Pixar building due to concerns over the quality of the story. The film is significantly revised, with the release date mere months away.

November 1999: TOY STORY 2 is released, and becomes the first animated movie sequel to outgross its predecessor at the box office. Despite the film's success, and despite the considerable stress the production was, Michael Eisner refuses to count it as part of the deal. Pixar owner Steve Jobs strongly feels that TOY STORY 2 should count.

January 2000: On New Year's Day of the new millennium, Roy E. Disney's FANTASIA follow-up FANTASIA 2000 goes into IMAX-exclusive release after a world premiere the previous month.

February 2000: Disney makes the unorthodox decision to release THE TIGGER MOVIE in theaters, a production made by the satellite units that otherwise would've gone straight to video. The film is a financial success.

June 2000: FANTASIA 2000 goes into general release. The film does not recoup its costs at the box office, and is generally a dud with audiences.

Around Early-To-Mid 2000: Despite the contractual agita over TOY STORY 2, Pixar is keen to do a TOY STORY 3. However, it is not greenlit by Disney.

November 2000: Paramount releases a sequel to their Nickelodeon-based hit from 1998, THE RUGRATS MOVIE. While RUGRATS IN PARIS does not make as much money as the first movie, it is still a financial success.

Early-To-Mid 2001: DreamWorks, who are about to release SHREK, are already at work on a sequel. When SHREK defies its pre-release odds and becomes a box office smash upon its May release, the sequel goes full-steam ahead. Unlike Disney Animation, whose sequels are farmed-out straight-to-video endeavors, and unlike Pixar who can't make another sequel per their contract with Disney, DreamWorks has none of this baggage and goes right ahead with a SHREK sequel.

February 2002: Disney releases another satellite production, PETER PAN sequel RETURN TO NEVER LAND, theatrically. The film is a box office success.

June 2002: Following the success of the Blue Sky production ICE AGE, released by 20th Century Fox, work is already underway on a sequel. Much like DreamWorks, they too don't have the baggage Disney Animation and Pixar have concerning sequels.

February 2003: Disney releases satellite production THE JUNGLE BOOK 2 theatrically, another financial success.

March 2003: Disney releases satellite production PIGLET'S BIG MOVIE to theaters. Costing double that of RETURN TO NEVER LAND and JUNGLE BOOK 2, the film is a box office flop.

July 2003: RUGRATS GO WILD, the third RUGRATS movie and something of a sequel to THE WILD THORNBERRYS MOVIE, is released by Paramount to poor box office.

Early-To-Mid 2004: Friction develops between The Walt Disney Company and Pixar, making a split between the two seem likely. Per the contract, Disney has first rights to the studio's animated movies that made up the extended film deal. (Everything from TOY STORY to a then-forthcoming THE INCREDIBLES and CARS) If Pixar were to break off from the Disney company, Disney could feasibly make sequels to their films without them involved... And Michael Eisner took full advantage, going back on the gentleman's agreement between the two parties. Disney launches Circle 7 Animation, a CG studio meant to make these Pixar-less sequels. Work commences on TOY STORY 3, MONSTERS, INC. 2: LOST IN SCARADISE, and FINDING NEMO 2. It's largely a hardball tactic to get Pixar to renegotiate and extend their film deal.

May 2004: DreamWorks releases SHREK 2 to record-breaking box office... This is where the game is truly changed... DreamWorks has three more SHREK movies lined up (the first of which aiming for a summer 2006 release), in addition to a direct-to-video prequel about the film's breakout character Puss In Boots.

February 2005: Disney releases one last satellite production to theaters, POOH'S HEFFALUMP MOVIE. Costing half of what PIGLET'S BIG MOVIE cost, it does alright at the box office.

Mid-To-Late 2005: DreamWorks sees another box office success in MADAGASCAR, and greenlights a sequel. This makes it the second ever DreamWorks movie to get a theatrical sequel. (Oddly, SHARK TALE from the year before, despite being a box office success and Oscar nominee, doesn't get a sequel.)

September 2005: After a campaign ran from the outside by Roy E. Disney, Michael Eisner resigns as the CEO of The Walt Disney Company. His successor, Bob Iger, seeks to renegotiate fairly with Pixar. Pixar's final film for the original contract, CARS, is less than a year away from release.

January 2006: In a historic move, The Walt Disney Company announces a $7.4 billion acquisition of Pixar.

March 2006: 20th Century Fox releases ICE AGE: THE MELTDOWN to great box office. Another film is on the way.

Early-To-Mid 2006: Following the announcement of Disney's purchase of Pixar, Pixar regains control of sequel production. Circle 7 Animation is shut down, and Pixar immediately begins work on *their* TOY STORY 3 for a 2009 release. Since a MONSTERS, INC. sequel and a FINDING NEMO sequel got to the script stage, Pixar eventually has to make their sequels to override those. A MONSTERS, INC. follow-up quietly begins development around this time as well. In addition to all of this, Pixar head John Lasseter takes over Disneytoon Studios and shuts down all traditionally-animated direct-to-video Disney sequels. This indicates that a future Walt Disney Feature Animation production, now named Walt Disney Animation Studios, will get a theatrical sequel if it's a box office success.

November 2006: HAPPY FEET, released by Warner Bros., is the biggest of the non-Disney/Pixar/DreamWorks/Blue Sky movies of the year and up until that point. Makes a big splash. Sequel likely.

May 2007: SHREK THE THIRD opens and is another blockbuster for DreamWorks.

January 2008: A rather unorthodox development, Big Idea makes a theatrical sequel to JONAH: A VEGGIETALES MOVIE, with THE PIRATES WHO DON'T DO ANYTHING. Universal distributes. It flops upon release.

April 2008: Two years into The Walt Disney Company's ownership of Pixar, a massive movie slate with Disney Animation, Pixar, and Disneytoon productions is unveiled. The game plan is the first announcement of a CARS sequel. This makes CARS the second-ever Pixar film to get a sequel. At the time, this movie is penciled in for a summer 2012 debut. TOY STORY 3 has also moved back a year, to 2010.

Mid-To-Late 2008: DreamWorks sees a new breakout hit with KUNG FU PANDA in the summer, and a sequel success with MADAGASCAR: ESCAPE 2 AFRICA.

July 2009: ICE AGE: DAWN OF THE DINOSAURS is released by 20th Century Fox, and scores excellently at the box office.

September 2009: Three features in, relative newcomer Sony Pictures Animation scores a good-sized hit with CLOUDY WITH A CHANCE OF MEATBALLS. A sequel is planned thereafter...

So now... We see where it all waxes... With that, we'll just look at things year by year...

2010: TOY STORY 3 is released and becomes the highest grossing animated feature of all-time. Earlier in the year, Pixar confirms that they are in production of a MONSTERS, INC. follow-up. DreamWorks sees another breakout hit with HOW TO TRAIN YOUR DRAGON, a sequel is also imminent. Newcomer Illumination scores big with DESPICABLE ME, a sequel is also inevitable. DreamWorks scores another hit with SHREK FOREVER AFTER.

2011: It's a sequel/franchise film explosion, kinda unprecedented in feature animation up until this point... KUNG FU PANDA 2, CARS 2, and PUSS IN BOOTS all come out this year and make big money. Disney Animation makes a 2D animated WINNIE THE POOH, but it is sadly a box office bomb. HAPPY FEET TWO, from Warner Bros., also bombs. HOODWINKED TOO! HOOD VS. EVIL is belatedly released this year, it is also a money-loser. New films make a splash and are to get sequels.

2012: Two sequels this year, the highly successful MADAGASCAR 3: EUROPE'S MOST WANTED and ICE AGE: CONTINENTAL DRIFT. Disney Animation, after years of misses and mulligans (TANGLED didn't really make much of a profit theatrically, but was a very popular film), notably scores a profitable hit with WRECK-IT RALPH, a sequel slowly begins development.

2013: Plenty of follow-ups here, with MONSTERS UNIVERSITY, DESPICABLE ME 2, THE SMURFS 2, CLOUDY WITH A CHANCE OF MEATBALLS 2, and CARS spin-off PLANES (produced at Disneytoon and not Pixar). The majority of them do pretty good at the box office, some of them *very* good. DESPICABLE ME 2 is named by Universal as their most profitable film ever released, to date.

2014: This year saw the releases of RIO 2, HOW TO TRAIN YOUR DRAGON 2 and PLANES: FIRE & RESCUE. MADAGASCAR spin-off PENGUINS OF MADAGASCAR is deemed a disappointment by DreamWorks, leading to company-wide ramifications.

2015: DESPICABLE ME spin-off MINIONS debuts and is a rare animated feature to cross a billion worldwide, with only TOY STORY 3 and FROZEN having previously done that. Elsewhere, HOTEL TRANSYLVANIA 2 and THE SPONGEBOB MOVIE: SPONGE OUT OF WATER - a belated sequel to THE SPONGEBOB SQUAREPANTS MOVIE from 2004 - are released and also do well. Notably, Disney Animation announces FROZEN II this year. The first of the post-Eisner animated features to get a follow-up announced, though the WRECK-IT RALPH sequel - announced a year later - opened before it.

2016: KUNG FU PANDA 3, FINDING DORY, and ICE AGE: COLLISION COURSE are released this year. The fifth ICE AGE movie does fine, but not well enough to lead to a sixth film. A CG remake of Disney's 1967 THE JUNGLE BOOK - with a single real-life actor - is released this year to massive box office.

2017: THE LEGO BATMAN MOVIE, spin-off of 2014's THE LEGO MOVIE, debuts this year and does well. The other LEGO spin-off, THE LEGO NINJAGO MOVIE, doesn't. Elsewhere, CARS 3 does okay at the box office, DESPICABLE ME 3 breaks the billion, and Sony reboots the Smurfs movies with an all-animated film SMURFS: THE LOST VILLAGE. They deem the film a box office disappointment. THE NUT JOB 2: NUTTY BY NATURE, a sequel to the 2014 ToonBox-produced movie, debuts to muted numbers.

2018: Big year for sequels: Billion-dollar smash INCREDIBLES 2, big hits HOTEL TRANSYLVANIA 3 and RALPH BREAKS THE INTERNET, and... Belated flop sequel to 2011's GNOMEO & JULIET, SHERLOCK GNOMES.

2019: Two Disney smashes in TOY STORY 4, the 99.99% CGI LION KING remake, and FROZEN II, though Universal's THE SECRET LIFE OF PETS 2 doesn't make half of what the breakout 2016 original made. HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD does fine, while THE ANGRY BIRDS MOVIE 2 and THE LEGO MOVIE 2: THE SECOND PART underperform.

2020: COVID-19 impacts the theatrical market, re-routing many films to streaming. TROLLS WORLD TOUR and THE CROODS: A NEW AGE debut this year, ditto a U.S. release of Aardman's first-ever movie sequel, FARMAGEDDON: A SHAUN THE SHEEP MOVIE. A third SPONGEBOB movie, SPONGE ON THE RUN, rolls out internationally before a quiet U.S. debut in the next year.

2021: The theatrical market slowly crawls back upon the unrolling of COVID-19 vaccines. Sequels this year include THE BOSS BABY: FAMILY BUSINESS, THE ADDAMS FAMILY 2, SING 2, and the unusual SPIRIT: UNTAMED: A follow-up to a TV series that was a follow-up to a flop DreamWorks movie.

2022: HOTEL TRANSYLVANIA: TRANSFORMANIA, TOY STORY spin-off LIGHTYEAR, MINIONS: THE RISE OF GRU, and PUSS IN BOOTS: THE LAST WISH make up this year, as we all know.

Last year: SPIDER-MAN: ACROSS THE SPIDER-VERSE, PAW PATROL: THE MIGHTY MOVIE, TROLLS BAND TOGETHER, and - notably - straight-to-streaming Aardman sequel CHICKEN RUN: DAWN OF THE NUGGET that still was theatrical-caliber.

This year: KUNG FU PANDA 4, INSIDE OUT 2, DESPICABLE ME 4, MOANA 2, and MUFASA: THE LION KING incoming...

On the horizon: SPIDER-MAN: BEYOND THE SPIDER-VERSE, A new WALLACE & GROMIT feature, ZOOTOPIA 2, THE SPONGEBOB MOVIE: THE SEARCH FOR SQUAREPANTS, TOY STORY 5, FROZEN III, THE BOSS BABY 3, SHREK 5, a third LEGO MOVIE, THE SEA BEAST 2, SECRET LIFE OF PETS 3, SING 3, a PEANUTS MOVIE sequel, a MUTANT MAYHEM sequel, and probably many more I'm forgetting at the moment...

Basically, the major cracks in the dam were TOY STORY 2, SHREK 2, and ICE AGE 2... Making sequels to animated movies was for a long time not ideal, getting an animated feature out period was at one point a gamble. (Still is, but not like it was many decades ago.) But yeah, a lot was at play for a while and then after it all blew up... Yeah, that's why there are so many of them.

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