#bongo ii

[loz-the-noob]

He is literally chilling

[sillybeanies]

[cupidslullaby]

Pt 2 to this post. Bongo II has joined the family, plus a pic of the bongos with the bongo extended family, Congo and Banana.

[beifong-brainrot]

Um. Don't drink while having a migraine

[just-a-carrot]

Hi Carrot!! Question, if the main group +Cecil,Hunar and Jerry had pets what would they name them??

Iggy: Melchoir

Genzou: Bongo Bot (this would be veto'd) Pikachu (Peek for short)

Orlam: Archibald II (tho we already see this lol)

Gidget: Oly

Bucks: Smorkus Malorkus (Smork for short)

Hunar: ..........Smorkus Malorkus (he has no choice)

Cecil: Kain

Jerry: George

[princesssarisa]

These lesser-known Disney movies were produced during and just after World War II. Due to the war, the company lacked the staff and budget to make their classic full-length animated features, so instead they "packaged" several animated shorts together to form feature-length movies. These sustained the studio until they finally returned to single-story features with Cinderella in 1950.

The general public might not know their names, but some of us have just as many fond childhood memories of these movies as of Disney's best-known classics.

It can be easy to forget which shorts came from which package films, so here's a reminder list:

Saludos Amigos: "Lake Titicaca," "Pedro," "El Gaucho Goofy," "Aquarela do Brasil."

The Three Caballeros: "The Cold-Blooded Penguin," "The Flying Gauchito," "Baía," "Three Caballeros," "Las Posadas," "You Belong to My Heart," "Donald's Surreal Reverie."

Make Mine Music: "The Martins and the Coys," "Blue Bayou," "All the Cats Join In," "Without You," "Casey at the Bat," "Two Silhouettes," "Peter and the Wolf," "After You've Gone," "Johnny Fedora and Alice Bluebonnet," "The Whale Who Wanted to Sing at the Met."

Fun and Fancy Free: "Bongo" and "Mickey and the Beanstalk."

Melody Time: "Once Upon a Wintertime," "Bumble Boogie," "The Legend of Johnny Appleseed," "Little Toot," "Trees," "Blame It on the Samba," "Pecos Bill."

The Adventures of Ichabod and Mr. Toad: "The Wind in the Willows" and "The Legend of Sleepy Hollow."

[nintendocompositions]

IT'S HERE!! 129 hours of love went into making this megamix party anthology of some of my favorite dance tracks! CapCut is now banned so it might be while til I upload videos as I re-learn.. life comes at you fast but I'm so lucky to have finished rendering this monster beforehand!

🪩 = bootleg by me

JUSTICE - The Party (ft Uffie) Miami Horror - I Look to You (ft Kimbra) Annie - Heartbeat (EarthMoonEarth Remix) Tove Lo - Disco Tits Goldfrapp - Slide In (DFA Remix) Millionaires - Stay the Night Calvin Harris - Merrymaking at My Place (Mr. Oizo Remix) Soulwax - NY Lipps (Kawazaki Dub) 🪩 YELLE - Je Veux Te Voir (BAИSHI Funky Edit) Peaches - Shake Yer Dix (Tiga's Where Were You In '92 Remix) Ladyhawke - Paris Is Burning (Alex Metric Remix) Felix Da Housecat - Silver Screen (Shower Scene) Tiga - Shoes Black Strobe - Me & Madonna (The Twelves Remix) The Swiss - Kiss to Kiss SOPHIE - NOTHING MORE TO SAY (DUB) Shinichi Osawa - Detonator (ft Princess Superstar) Boys Noize - & Down Klaxons - As Above So Below (JUSTICE Remix) Sneaky Sound System - When We Were Young (GLOVES Remix) Kylie Minogue - Boombox (LA Riots Remix) 🪩 Madison Avenue x Tkay Maidza - 24k (Don't Call Me) The Ones - Flawless Playgroup - Make It Happen Tove Lo - Pineapple Slice Treasure Fingers - Cross The Dancefloor (Chromeo Remix) Chilly Gonzales - You Can Dance (Fare Soldi Gonzobot Remix) Feist - Sealion (Chromeo Remix) 🪩 Deee-Lite x Zongamin - Groove Is In The Bongos Daft Punk - Around the World Kelis - 4th of July The Count & Sinden - Beeper (ft Kid Sister) Sneaker Pimps - Spin Spin Sugar (Armand’s Dark Garage Mix) Basement Jaxx - Red Alert Mason vs Princess Superstar - Perfect (Exceeder) 🪩 Far East Movement x Megan Thee Stallion - Like a Freak6 Lady Gaga - Donatella Marie Davidson - Work It (Soulwax Remix) Miss Kittin & The Hacker - Frank Sinatra 2001 Azealia Banks - 1991 Carte Blanche - IN THE MIX Fare Soldi - Tutto Tutti Sempre Subito Lykke Li - I Follow Rivers (The Magician Remix) Uffie - ADD SUV ft Pharrell (Carte Blanche Remix) YELLE - Que Veux-Tu (Madeon Remix) Azealia Banks - ATM JAM ft Pharrell (The Oddword Remix) 🪩 Benny Benassi x Charli XCX - Guess My Satisfaction (ft Billie Eilish) Daft Punk - Technologic SOPHIE - VYZEE No Mana & SOFI - Digital Friends Mario Più - Communication (Yomanda Remix) 🪩 Proyecto Uno x Yomanda - Tiburón y Strings Basement Jaxx - Bingo Bango Kelela - Sorbet (LSDXOXO Remix) CoastDream - Eivissa

I DON'T OWN THE RIGHTS TO ANYTHING

[cutebutalsostabby]

Any really weird or funny things in the LoZ games you think deserve attention in LU fics?

Oh, a bunch. Where to start?

Firstly: they should play more minigames. Especially dancing. Weird that the Gorons moved on to wrestling as their main sport by Twilight's era; frankly that's a downgrade. Legend and Time should remind them what tradition looks like.

And some minigames are just... ridiculously dangerous? They would make GREAT crack fics. Any myths of Sky being normal and well-adjusted would crack under the weight of that game where you get shot out of a cannon and then skydive down to slam your face into a giant roulette wheel. Or that game from Labrynna (Legend) where this Goron throws a whole heap of bombs at you to see if you can dodge them. Only slightly safer than a similar game involving cuccos.

And on the more serious side of lore that I think is under-explored: the Royal Family has a daaaark side. In a lot of ways, really, which are HINTED at in the games, but rarely actually detailed. For example, it's mentioned in Twilight Princess that the Royal Family have been exploiting the Twilight Realm since LONG before the Twilight Realm started fighting back. And in TotK's ancient Hyrule, we never did find out what happened with the rest of the Zonai, or how exactly Rauru ended up in charge of things.

Ocarina of Time has the darkest portrayal of the Royal Family - even though Zelda is the only member of that family that you ever actually see (the king is somewhere offscreen at the time you meet her). Although everything seems fine and normal at first - notwithstanding the giant war that happened before the start of the game and which left Hyrule Field SWARMING with undead - you eventually come across Bottom of the Well and the Shadow Temple, which uhh... don't paint the Royal Family or Sheikah in a particularly nice light.

And then there's Zelda II's background lore from the game booklet, which says that a king from long ago created the monsters that guard the Palaces:

Are we just going to skip past the fact that the King can create monsters?? That feels important! When and how did he learn to do that? Does that have anything to do with how Dead Hand and Bongo Bongo came into existence? Or anything to do with BotW's Guardians, WW's Tower of the Gods, SS's Lanayru facility or the transformative shadow magic in TP? Possibly not, but it's fun to think about. Teehee conspiracy brain go brr.

There should be more spooky scary horror fics, maybe. Maybe I should write this. (It's vaguely included as a plotpoint in my longfic, but I am SLOW right now.)

[loz-the-noob]

Made Satsuma a bracelet!

They all work on a farm together btw vvv

[planetbeanie]

I got this guy while i was in London (im from the US)!!! Offcially hes Snort II but i renamed him Greased Lightning because we went to see Grease right after i got him!!

Additionally heres the pics from the toy store i bought him from!!!

They had Snort II, Squeales II, the elephant, whose tag i didn't look at, and Bones (II? i don't remember) for sale, but I can only assume the monkey is Bongo! I really wanted Bongo too, but i was too shy to see if they had any or could get him from the display for me :(

OMG THESE PICTURES ARE AMAZING!!!

I haven’t seen photos of dedicated Ty store displays except from the 90s and early 00s (I’m not talking about seeing a little display stand in Walgreens, we still have those everywhere, I mean a huge dedicated display like this)

Thank you so so so much for sharing this with me and making my evening! And your snort looks so adorable! This new line of beanies fur looks so plush and soft : O

I really wanna try and find one of the new Bongos!!

[ronjacksilver4816]

PVZ1 Day Plants and Headcanons

Plants vs. Zombies' 15th anniversary is around the corner, so I wanna celebrate by showing my artwork of every plant and headcanons of their personalities!

Peashooter

The leader of the group.

Has a crush on Sunflower, the feelings are reciprocated but they have yet to express it to each other.

The middle child in his gigantic family tree

Suddenly exploded in popularity after defeating Zomboss. Isn’t complaining about it

The everyman who likes to take it easy

Sunflower

The medic of the team

Optimistic about life, it takes a lot for her to get sad

Beautiful singing voice

Has a crush on Peashooter, has yet to express those feelings to him

Loves sunbathing

Has her own YouTube channel

It’s called Sunflower Sings

Knows that zombies are evil, yet she treats them as friends

Cherry Bomb

They look threatening, but they’re actually quite mild-mannered and friendly

Sprouted five minutes apart from each other

Sibling rivalry

Keep coming up with new explosion phrases in each game.

“How about… CHAPOWIE?” “No, I prefer POWBOOF!”

Can blow up when very angry

Grapeshot’s rival

Both heads have a crush on Bombegranate.

Wall-nut

Very stupid, yet also very nice

Treats being eaten as getting a message

Close friends with Chomper and Potato Mine

A bowling champion with a lot of experience. 30 strikes in a row!

Nearly indestructible. Don’t believe us? Try throwing a rock at him.

Terrified of nutcrackers

Potato Mine

Short-sighting like a mole, sees better underground

Went on to brand “SPUDOW!” as a catchphrase. No-one is willing to support him on that.

Has a crush on Sweet Potato, she’s too oblivious to see it

The cool, quiet one

Loves surprising zombies when they least expect it

Snow Pea

Peashooter’s cousin who lives at Mt. Brainer

Plays the bongos and tennis in her free time

Has a crush on Fire Peashooter, but worries that she’ll melt by getting too close to her

Dislikes Torchwood because her fire melts her peas

One day wishes to visit the north pole

Once asked Chomper to catch a snowflake to see what it tasted like, and she immediately regretted his decision when he got a face full of Chomper saliva.

Chomper

Looks threatening, but has the mentality of a friendly dog

Has bad zombie breath. No one has the heart to tell him.

Speaks in gibberish and growls

Eats Newspaper Zombies for breakfast, Browncoats and All-Stars for lunch, and Imps for dinner and dessert

Licks others to show affection

A good friend of Audrey II

Repeater

Peashooter’s older brother

Feels the need to repeat himself all the time (“Listen to me! Listen to me!”)

Secretly very insecure and just wants his family’s love

Sleeps in a street alley

There’s a lamp there because he still needs to photosynthesize

A bit of a (platonic) tsundere

His repeating habits came from when he was born by pouring twice the amount of water on his seeds.

Twin Sunflower

Sunflower’s bizarre younger sister

Run a sunglasses shop

Both heads sing karaoke with each other on weekends

Both heads have a mind of their own

Has a crush on Threepeater

Gatling Pea/Mega Gatling Pea

Peashooter and Repeater’s big brother

Retired from fighting zombies to work at a gym, just so he can be his own plant

Claims to have fought in the military, but given how sketchy and crude the scratch marks on his old helmet are, no-one wants to tell him the contrary

Everyone is jealous because he’s too overpowered

[domonicriley]

Using Nostalgia and Self-Reference in Movies

Watching any recent sequel to a legacy franchise can feel like you’re playing nostalgia bongo, with the amount of references and callbacks to previous moments from the franchise’s history. Think the mini Stay Puft marshmallow men in Ghostbusters: Afterlife and Frozen Empire, or the reuse of famous quotes in Alien: Romulus, not to mention the fact that Star Wars is now just a big Easter egg hunt that only references itself. But why are they like this?

Well, for a start, it’s partly to do with the way Hollywood likes to play things nowadays. In the past, they would take risks on untested new ideas, allowing talented creators to make some pretty amazing movies. They weren’t always successful, but they managed to find a balance between profit and artistic integrity. Now, they are far more risk-averse. Looking at a release slate for 2024 movies earlier this year, it was nothing but sequels, prequels, and spin-offs: Gladiator II, Deadpool & Wolverine, Ghostbusters: Frozen Empire, Godzilla X Kong. Barely a single original idea was given a real shot.

In contrast, the list of movies released forty years ago, in 1984, was a very different picture. Popular franchises like Terminator, Ghostbusters, and The Karate Kid got their first start in this year, and are still going (for better or worse) four decades later. Has there been a breakout franchise in 2024 that will still be able to boast this? I doubt it.

This reliance on established franchises can be looked at two ways. Cinema doesn’t hold the appeal it once did. Home entertainment’s improved, and the choice of what to watch has expanded, with competition from streaming services, while studios continue to hurt themselves by throwing movies onto their own streaming platforms instead of giving them theatrical releases, or pulling them from cinemas early if they underperform. Why go to the trouble of visiting the cinema when there’s so much on offer in the comfort of your own home?

Then there’s the fact that sequels are a safer bet than starting out with a completely new and original idea, especially as the budgets for large moves have gotten out of control. No one’s willing to risk $200 million on the next Star Wars.

Having a pre-established fanbase ready and waiting to watch your movie is less of a risk than having to get people excited about something new. The problem is that this stops anything fresh coming to the fore and really taking people by surprise. This is further confounded by the way studios approach movie making now, with executives and producers taking a bigger hand in what gets made and how it gets made, stifling creative freedom and leaving little room for the next generation of filmmakers with the same vision as Steven Spielberg and George Lucas.

Hoping to minimize risk, the studio just rolls out another entry from a legacy franchise, but this is not a certain win. Fandoms are quite forgiving, but in the past ten years or so, many have fallen out with the studios that control their favourite franchises, as many poor-quality reboots and sequels have taken apart the things they love. Look at the way Luke Skywalker is treated in The Last Jedi, or Tolkien’s world in The Rings of Power. Such bad faith entries have turned fans away, and made them suspicious of certain studios who want to keep making more out of these IPs.

One response to this by the studios is to try and reach out to fans with movies and TV shows that are as inoffensive as possible. These often lack much originality, relying on established characters, callbacks, and the power of nostalgia to make their audiences happy. Not only are they a symbol of a studio that’s messed up, but also of a franchise that’s running out of ideas. There are two recent movies that can illustrate this for me.

The first is Ghostbusters: Afterlife, released in 2021. The movie is as easy on its audience as possible. It came out a few years after the mess of Ghostbusters 3, which had been a disaster when it came out, almost destroying the franchise. Off the back of this, Sony, decided to take it easy with the next movie in an attempt to win back fans, taking no creative risks, and treating the original characters with respect, especially the death of Harold Ramis who played Egon Spengler.

I liked Afterlife for what it is, but what it is is a nostalgia-heavy film with so many references to the first two movies. What’s more, its sequel, Ghostbusters: Frozen Empire, continues this trend, failing to cut its own path, and relying entirely upon the fact that it was a Ghostbusters movie to get people watching, rather than also being an entertaining movie in its own right.

The second movie is 2022’s Jurassic World: Dominion. After a hugely successful reboot in 2015, and a less-than-great sequel in 2018, the Jurassic franchise was starting to look tired. The idea of dinosaurs running around eating people has been done to death by B-movies, and these films were embracing Monsterverse pseudo-science more and more. What choice was left for them but to go with the nostalgia angle?

Unlike Ghostbusters, there was no need to appeases the fans, who were still invested in this franchise, the decision to bring back Alan Grant, Eliie Sattler and Ian Malcolm was more about giving a generic Jurassic World movie a unique selling point, bringing back characters who hadn’t been seen for decades. Unfortunately, they weren’t the centre of the movie, as they had to compete with the new heroes like Owen Grady and Claire Dearing, but at least they were not deconstructed in any way, by making Alan into a failed alcoholic. It was pure nostalgia for its own sake, and considering that Dominion managed to bring in $1 billion, it seemed to work. The problem is where can the franchise go now? There’s another JW movie scheduled for release next year, but it feels like this property has fired all of its shots long ago, leaving little point in a seventh entry.

As these two examples show, nostalgia can be a good selling point, but it also means that these movies don’t have much to recommend them outside of it. They might be enjoyable enough, and certainly not damaging to the franchise, but they don’t blow you away either.

So, how should franchises use nostalgia and callbacks?

That depends to some extent on why it’s included in the first place. When I see a Terminator movie or show, I want to hear someone say “I’ll be back”. When franchises have been going on for so long, they pick up little things that fans are waiting for, like how Star Wars always includes the line “I’ve got a bad feeling about this”, or the way Lethal Weapon’s Riggs and Murtaugh do their “on three” routine. If they weren’t there, it would be disappointing. The problem is when this is the only thing that a movie can do to get a response from its audience. I can remember several scenes and lines from Frozen Empire, but none of them are original in their own right. The first Ghostbusters movie, on the other hand, has many moments unique to that film.

Often by the fifth or sixth entry, a franchise simply starts to reference (or even parody) itself, hitting all the beats they think fans want, constantly calling back to earlier entries. It’s rather like a Build A Sequel workshop, where pieces from all the other entries are sewn together to make something that’s derivative of everything else. All the pieces are there, but there’s nothing unique about it.

This might seem like it’s only a small concern, but I think it leads to deeper problems. For one, it will relegate these franchise to history at some point in the future, when no one is around who remembers seeing the original when it came out.

These sequels will become irrelevant if no one knows what they are calling back to, and not only that, but where will the new audience come from? Would anyone who didn’t know the original Ghostbusters care about Frozen Empire? Would it inspire them to go check it out? Or is it just something caught in its own franchise loop?

Fan service can make sense, and there’s nothing wrong with it. It would seem the better option rather than a franchise completely ignoring its fanbase to try and find a new audience. But in order to live on, these IPs need to keep bringing in more viewers. They need to do the impossible of pleasing their existing fans while also opening up to new fans.

If that can’t be done, then perhaps it’s time for these franchises to come to an end, to leave the originals unspoilt for fans to enjoy, and for studios to do that thing they have become terrified of, but which they will need to do sooner or later to survive: create something new.

[denshadeyoyo]

Hello (:

I'm bongo humble owner of this swag account and those gooberz up there are the aspects of myself who run the blog. Pilk is my sense of aesthetic, Bepis is my memer side and Grogrito is the one that snatches them up to put together a drawing. Some other things about yours truly is...

Pronouns: She/it

I'm black and swag

A girl kisser

🍖🌈 & 🎉🖌️

I am the world biggest my sweet piano stand and if you disagree than we can find out the faker through A BATTLE TO THE DEATH.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

OC art

Fanart for:

Brawl stars, Regretavator, BFDI, II, and more

Scumland- A fantasy world I'm working on filled with little guys and incoherent rabblings-https://www.tumblr.com/blog/scrumland

KYSATO- A comic with staring a middle aged depressed cat man with an accounting job-https://www.tumblr.com/blog/kysato

Beside my other work, If you want to yap, send memes or request things like fanart from a particular fandom I'm all ears... But

DON'TS:

Be racist. This is obvious but if you hate black artist please go somewhere else

Be Homophobic. Same with racism, if you hate pan people the door's right there.

Spam- memes are funny but don't be annoying

Try to get me involved with crypto, NFT's, AI or any other new thing silicon valley pop's out

Any other weird shit like trying to date me. I can't think of anything else but there's always gonna be some weird people here that should've stayed on reddit, or discord art channels

have a nice day and enjoy the blog (;

[lboogie1906]

Ambassador Cynthia Akuetteh (1948) a career Senior Foreign Service officer, was nominated by President Barack Obama to serve as ambassador to Gabon and the island nation of Sao Tomé & Principe.

She was born in DC to Richard Louis Archie II and Sallie Dolores Hines. She graduated from Long Island University with a BA in History. She earned an MS in National Security Resource Policy from the National Defense University.

She served as a Program Officer for the Peace Corps and was Deputy Director of the Corps’s program in Ghana. Her embassy assignments included serving as the US Trade Officer in Niamey, Niger, and Dar es Salaam, Tanzania; Policy Officer in Ottawa, Canada; and as Senior Desk Officer in Caracas, Venezuela. She was Deputy Director in the Office of Economic Policy, the Bureau of African Affairs at the State Department. She was an economic policy officer at the Embassy in Ouagadougou, Burkina Faso. She held the same post in Abidjan, Cote d’Ivoire. Returning to the State Department she became a Director in the Office of Central African Affairs and held the same post in the Office of Europe, Middle East, and Africa for the Bureau of Energy Resources. She was Deputy Assistant Secretary in the Bureau of African Affairs.

As Ambassador to Gabon and Sao Tomé and Principe, she led diplomatic efforts to prevent popular unrest in Gabon aimed at the Bongo family. The family has ruled this oil- and mineral-rich nation since 1967 and often aligned Gabon with US diplomatic interests in the region. Akuetteh has also promoted greater U.S. trade, investment, and tourism. She was a key factor in Gabon agreeing to allow Navy, Marines, and Coast Guard assistance in policing its shores to provide port security and prevent piracy and human, diamond, and weapons trafficking.

She was married to Nii Akuetteh, a Ghanaian-born policy analyst and activist who founded the Democracy and Conflict Research Institute in Accra. They are the parents of two children. #africanhistory365 #africanexcellence

[kylesvariouslistsandstuff]

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 theatrical 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 SPACE JAM: A NEW LEGACY, 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, MUFASA: THE LION KING, WALLACE & GROMIT: VENGEANCE MOST FOWL...

Next year: THE BAD GUYS 2, ZOOTOPIA 2, THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS, PLANKTON: THE MOVIE

2026: UNTITLED MARIO FILM, TOY STORY 5, SHREK 5, PAW PATROL 3, MUTANT MAYHEM 2, ICE AGE 6

2027: MINIONS 3, FROZEN III

Also on the horizon: SPIDER-MAN: BEYOND THE SPIDER-VERSE, INCREDIBLES 3, THE BOSS BABY 3, a third LEGO MOVIE, THE SEA BEAST 2, SECRET LIFE OF PETS 3, SING 3, a PEANUTS MOVIE 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.

[beanie-buddy-boy]

Update on my collection <3

From top to bottom and left to right on the shelves is Scorch, Magic, Scaly, the chinese zodiac dragon. On the next shelf is Coral buddy renamed Sherbet, color swapped Iggy and Rainbow, Patti, and Bongo II. The third shelf is the 2006 and 2008 mothers day bears, kisses the hershey kiss dog, freckles, bones and dotty, and twigs the teenie beanie. The fourth shelf is Ears, Snort, Claude, Inch, Neon, and Topper. The fifth is a teenie beanie of Patti, who is renamed Rupert, a teenie of inch, Romance, Happy, Lips, Strut, and KuKu. The sixth shelf is KissMe, the cranberry new-faced Teddy, and the teal old-faced Teddy, who is renamed Clarimont, all three are buddies.

From left to right across both pictures are Caboose, May birthday bear, and buddies of Bones, Scorch, and Snort.

Two others that are hanging out in random places rn are Snort II and Kooky, but I dont have a picture of him.