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kylesvariouslistsandstuff · 8 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 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

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.

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olympic-paris · 28 days

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THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more …

August 27

1943 – Luis Caballero Holguin, born in Bogota on this date (d.1995) was a painter, watercolorist, pastellist and lithographer. Caballero is known for depicting masculine fugures, and his works often include both erotic and violent imagery.

Caballero was raised in a conservative Catholic household. He studied at the Universidad de Los Andes (Colombia) in 1961-62, where he met and was influenced by etcher artist Juan Antonio Roda and art critic Marta Traba. He continued his academic studies in Paris at the Academie de la Grande Chaumiere, graduating in 1964. It is during this time that he discovered Willem Dekooning and Francis Bacon. Back in Colombia, in 1968, he won First Prize at the First Ibero-American Biennal of Medellin.

Caballero returned to Paris where he found more freedom in 1969 and lived there until 1995, when he returned to Bogota for a special exhibition of his work at the Luis Angel Arango Library.

His figurative works are usually large scale mixed media oil, ink, watercolor washes on either canvas or paper, sometimes incorporating fabrics or rope in a limited range of muted sepia colors, often representing male nude figures, in a contemporary style marked by classic training.

His work was briefly censored by those who considered it “obscene, pornographic and immoral”, even though Caballero himself said: “Maybe the creative impulse is the same as the erotic impulse,” and: “I paint the bodies I would like to possess.”

He died in June of 1995 at the age of fifty two.

1947 – The Washington Post editorializes in favor of an expanded sodomy law for the District of Columbia, complaining that the city had become 'more or less a haven for sexual perverts and degenerates.'

1952 – Today's the birthday of Paul Reubens, (d.2023), best known for his character Pee-wee Herman, he starred in the television series Pee-wee's Playhouse from 1986 until 1990. He also starred in an HBO special called The Pee-wee Herman Show, the 1985 movie Pee-wee's Big Adventure and the 1988 movie Big Top Pee-wee.

In July 1991, after deciding to take a few years' sabbatical from Pee-wee, Reubens was arrested for indecent exposure in an adult theater in Sarasota, Florida. The arrest set off a chain reaction of national media attention that changed the general public's view of Reubens and Pee-wee. The arrest postponed Reubens's engagement in big projects until 1999, when he appeared in the big-budget Mystery Men and Blow and started giving interviews as himself rather than as Pee-wee. He has since gone on to take roles in darker themed movies like Blow. Reubens appeared as the Pee-wee Herman character for the first time since 1992 at Spike TV's 2007 Guys Choice Awards in June 2007.

1961 – Tom Ford is an American fashion designer. He is well known within the fashion industry for his legendary turnaround of Gucci, one of the most influential fashion houses in the world.

Ford was born in Austin, Texas. After graduating from the Parsons School of Design in 1986, initially having studied architecture, he took design jobs with Cathy Hardwick and Perry Ellis. In 1990, he was recruited by Gucci to design women's ready-to-wear, and Ford later moved on to become the chief director for Gucci. Ford called french editor Carine Roitfeld and photgrapher Mario Testino and asked them to help him revamp the old fashioned house. His own film star looks probably helped re-invest Gucci with its lost glamour. By 1999, Ford had helped propel Gucci into a fashion powerhouse. When Gucci acquired the house of Yves Saint Laurent, Ford was named the creative director of that label as well.

Tom Ford is openly gay, and he and his partner, journalist Richard Buckley, have been together since 1986. Buckley was the former Editor in Chief of Vogue Hommes International. Buckley was diagnosed with cancer in 1989 and after his recovery the two moved from New York to Italy.

In 2004, Ford stepped down or was asked to step down from both of his positions, amid rumours he wished to direct films. Following his departure from Gucci (and YSL), Ford opened the fashion house, Tom Ford. Ford began with accessories; his line of eyewear was the first to become successful. The Tom Ford line now covers menswear, beauty, eyewear, and both men and women's accessories. In 2006, he also established a fragrance line called Tom Ford Beauty.

He gained a lot of publicity when in 2007 he stripped down for a new boxing-themed photo shoot in the November issue of Out magazine and jumped in the shower with two burly boy models. (The above is a "before" shot.) Ford said he made sure to compliment his fellow models' natural endowments in the shower but assured the mag that it didn't make the pair uncomfortable. "They sense from me that I'm not going to give one of them a blow job," he said. "I just don't do that."

In March 2005, Ford announced the opening of his film production company, FADE TO BLACK. In 2009, Ford made his film directorial debut with A Single Man, which was based on the novel of the same name by Christopher Isherwood. The film stars Colin Firth, Julianne Moore, Nicholas Hoult and Matthew Goode. The screenplay was adapted by Ford and David Scearce. Ford also produced the film, which premiered on September 11, 2009 at the 66th Venice International Film Festival and was nominated for a Golden Lion. Colin Firth, who plays the protagonist George, was awarded the Volpi Cup as Best Actor for his performance and was also nominated for an Academy Award, Golden Globe, Independent Spirit Award and Screen Actor's Guild award. He won the BAFTA for Best-Actor in a Leading role. Julianne Moore was nominated for Best Supporting actress at the Globes. Tom Ford was nominated for two Independent Spirit Awards in 2009 including Best First Feature and Best First Screenplay.

1964 – Stephan Elliott is an Australian film director and screenwriter.

Elliott began his career as an assistant director working in the boom of the Australian film industry of the 1980s.

His feature films, Frauds, The Adventures of Priscilla, Queen of the Desert and Welcome to Woop Woop were all officially selected to screen at the Cannes Film Festival, with "Priscilla" winning the Prix du public as well as an Academy Award for Best Costume Design, among numerous other accolades.

In 2004, Elliott was involved in a skiing accident which saw him hospitalised for several months. He credits the accident with rediscovering his sense of humour. This may go part way to explaining why, in 2007 Elliott worked with Fred Nassiri to create one of the most expensive music videos of all time. Shot in over 15 countries, with seven directors the song "Love Sees No Colour" aspires to spread a message of peace and love.

His latest film Easy Virtue, was written with co-writer Sheridan Jobbins, and is based on the Noël Coward play of the same name. He is currently in the post-production stage of his next film, A Few Best Men starring Xavier Samuel and Olivia Newton-John.

Other writing credits include 'the book' (i.e.: the script) for the stage play of 'Priscilla' which premiered in 2007 at Sydney's Lyric Theatre in Star City to excellent reviews.

Elliott came out as gay during his presentation at the inaugural AACTA Awards in Sydney on 31 January 2012.

"I've been offshore for many, many years for another reason," he said. "Basically it was because I was scared of who I was. I basically was scared that I was gay. Even after Priscilla I stayed offshore basically because I was frightened of my family. And tonight I'm coming out."

1994 – Jendrik Sigwart is a German Musical singer and actor, who appeared on Eurovision Song Quest.

Jendrik was born in Hamburg, Hamburg, Germany. He grew up in Hamburg-Volksdorf, Hamburg, Germany and is the second eldest of four siblings. As a teenager Jendrik learned to play piano and violin. He also plays the ukelele. Later he studied Musical singing and acting for four years at the Institute for Music at the University of Applied Sciences of Osnabrück, Lower Saxony, Germany.

While he was a University Student he discovered his own homosexuality.

Jendrik Sigwart appeared in various musicals, including German productions of My Fair Lady, Hairspray and Peter Pan.

Since September 25 2016 he ihas been publishing his own Music on YouTube, where he was found by German Eurovision Song Contest Representatives of NDR, Hamburg. In February 2021 NDR announced that Jendrik Sigwart will be the Singer for Germany on the Eurovision Song Contest 2021 in Rotterdam, South Holland, Netherlands.

As of May 2021 Jendrik Sigwart has been in a stable relationship with his Boyfriend Jan Rogler for more than 4 years.

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polisena-art · 2 years

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I thought of an AU like this: Donald is a police officer greatly despised by his boss. Panchito is a prisoner who knows a lot about a certain person with green feathers. Zé is a fugitive with robbery and "murder" skills. Donald needs Panchi's help to capture José, accused of killing someone important. Panchito refuses, but ends up accepting the reward that would be his freedom from prison. José would have to flee from both of them and at the same time find a way to prove that he didn't kill the bourgeois, because, yes, a criminal, never a murderer. Then there's a big roll and they end up on the same side, curiously on the opposite side of the police. Thus, the three gay caballeros need to find the real culprit, as this would improve the lives of each of them.

This is COOL!! I like how in this AU they each come from different perspectives and each would have their own goals until it clicks that they'd work way better TOGETHER.

NOW, idk if you're implying that Panchito knows a lot about José because they both used to work together? Maybe until they get ambushed and caught red handed, Panchito ends up being captured and José is the one that manages to get away. Which could lead to a lot of resentment, just saying...

I think Panchito being the one more desperate about getting his freedom back would not want to hear José's pleas of being innocent of killing some big shot. But Donald would be the more level headed one in this situation and act like a meddling force between the two until they finally act like a team.

#I like both approaches of Panchito knowing a lot abt zé because they were partners in crime or maybe he just knows a lot because #he was also inserted in the crime world and is aware of josé's fame and modus operandi #ask #anonymous #text post

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powerpolyculeshowdown · 2 years

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friendship blossoms in the power polycule showdown.... two rivals, the main source of propaganda for their respective ship, not beg the community for a tie! can it be done? can three gay caballeros and liphyio hold hands to the next round????

#2 musical polycules.... united.#this is beautiful im so happy i made this poll thank i everyone

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cordycepsfem · 7 months

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I am with you on the need for a more prominent anti pedophilia movement withing LGB spaces.

I think there is a weird problem within the LGBT community where two different groups see issues:

-Gay men have a LONG history of being classified as deviants and pedophiles for normal pieces of life. Consider for instance the aggressive anti sodomy laws compared to extremely lax (or non existent) age of consent and child marriage laws through much of the US until recently. The concern among some (particularly gay men) is the battle cry of "kill sex offenders! Prison for life for groomers!" Is that the definitions of both of those will be legally changed to encompass normal healthy behavior. Consider also how the idea of "child molestation" to most Americans conjures an image of a man molesting a boy, even though girls are MUCH more likely to be molested.

-Creeps and creep apologists (Yaniv, Long-Chu, etc).

There are still some very worrying child marriage laws in the US (and around the world)!

I agree that gay men do face unfounded scrutiny and accusations of being deviants/pedophiles, and that should not be wielded against them. However, I don't think that when gay men see a bill against pedophiles or child abusers, many of them immediately think, "Oh no, this will somehow harm me," whereas the literal first place I saw a post about Florida's child abuse law was in a quote tweet from a trans person complaining about how this would affect the trans community.

The problem there is that there is a very large, bizarre faction of the trans community who are terminally online. They don't see how suggesting that an anti-child abuse bill is "anti-trans" makes trans people as a whole look. I read that and cringed on behalf of my trans friends, who are not terminally online individuals, and who never cross my mind when I think about TRAs online.

The additional point about creeps is that they also make the trans community look bad by association, and many of them do it by exploiting the system. Yaniv got his name changed so it was legal for him to file harassment claims against people who "misgendered" him, and spent untold amounts of Canadian taxpayer dollars suing women of color, most of them immigrants, for not wanting to touch his balls. And it was entirely legal for him to do so!

Long-Chu and "Grace" Lavery wrote books about how being thought of as a woman was a sexual thrill for them, how being a "hole" was all that it meant to be a woman, how women are blank-eyed sex puppets... Lavery even had the gall to name his book about being a woman after his penis. But because they're men-who-claim-to-be-women, we must celebrate them, write articles about them, give them money, allow them to be professors where they teach undergraduates about pornographic writing.

You've got "Erin" Reed on Twitter who screams about genocide but can't read a legislative bill for shit, and "Alejandra" Caballero from Harvard who is made out to be some sort of legal expert but actually got called into the Senate to defend threats he made against the Supreme Court on Twitter (best lawyer). And Kevin "Kathryn" Gibes, who's had two "vaginas" made for him, because he let the first one close up, and if you're a US citizen, your tax dollars paid for both - and his breast enhancements; he makes no efforts to hide any of his fetishes and ties all of them to being trans.

And there's the big rubber boob shop teacher, and every male on a lesbian dating site, and every single individual who has ever made their presence known in a place it was not wanted on behalf of their super important "trans" or "queer" identity - whether it's "gay" trans men screaming about homophobia from actual gay men or "lesbian" trans women talking about how actual lesbians need to suck their dicks.

The problem with this is that there are huge scaffolds in place to support all of this madness, rather than make it meaningful for trans people to exist. There are hordes of mommies trying to trans their children, and because we want to love and protect children, of course that rallying cry about children needing health care must be heeded! And if so many people cry about genocide for so long and so often, there must be some sort of truth! If websites post headlines about trans people being murdered in the streets, without any justification for it being a hate crime, it still must have been one! If a legislator introduces a bill that even whiffs of trans, it's set out to kill all trans people! There's no room to call out weirdoes and creeps because they're driving the caravan.

The LGB should do its best to call out predators and pedophiles, to make our community unwelcome for those individuals, and speak out against situations or bills that look to actually harm gay and bisexual people, and cut off the TQ entirely. I have no doubt there are bad actors in the LGB, as there are in every community, but it is the job of those of us in that community to take responsibility and call them out, not to give them the microphone and let them dictate the score.

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fi3stazo · 2 years

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spare three caballeros headcanons?

Foaming at the mouth grabbing you by the shoulders I’m glad you asked (Guess who’s my favorite)

Panchito:

He’s much heavier than he looks.

His guns can talk. Or he can talk through them. They can have his voice or their own. Idk but they can talk. Based off that one part in the og film where they sung their song (“We’re brave and we say so”)

He’s not dumb, he’s gullible. He’s very eager to help others, which ends up with him getting used pretty often. That being said though, you break his trust once and you’ll never get it back. Well. He makes exceptions sometimes. Depends.

Fairly easy to read.

His family (more specifically his mom, I suppose) owns a ranch in Mexico.

He’s one of those guys where if he pats you, he pats you REALLY hard. Like you’d nearly fall forward just from his force alone.

He rarely gets sick, but when he does it’s super bad. Donald and José send him care packages.

He’s a morning person. (*cough* *cough* HE’S A ROOSTER *cough*)

He, of course, crows loudly every sunrise without fail.

When he’s super angry or squaring up on you, he’ll paw at the ground with his feet despite that being a bull’s habit. (Maybe he picked it up from someone?)

He used to own a nightclub at some point. (A successful one, at that!) It was more like a 1930’s-esque one and was located in the US, since he moved there from Mexico and heard the country guaranteed success and all that. It was destroyed in an earthquake. It was a two-story building, the first being the actual club and the second floor being where he lived. The second floor fell on the first and had he been on the first floor, he surely would’ve been crushed to death. (*panchito voice* I could’ve been added to the ofrenda-!) He moved back to Mexico after that. (Based off how his og voice actor used to own a club from what I’ve heard. It didn’t get destroyed by an earthquake though.)

He met Donald through said club.

Low key has a fear of uh. Earthquakes.

He snores like “snork-mimimimimimi” except instead replace every “mi” with “cluck.” (“Snork-cluckcluckcluckcluckcluck”)

Trans man. Gay asexual <333

He tends to tap and stomp his feet when he’s happy. Usually rhythmically. (Bubbly excitement type of happy)

He’s the type of guy where even if he’s only known you for, say, a few days, he’d treat you like he’s known you for years.

Huey, Dewey, and Louie call him Uncle “Cheeto” because they misheard one of his nicknames (“Chito”) and it stuck.

Speaking of uhhh nicknames, his nicknames are: Paquito, Panch, Paco, Chito, Chaco, and Amor. José is the one who calls him the last one.

He’s pretty loud. Obviously.

He tackles José a lot.

José <3:

He has really sweaty hands and is rather self-conscious about it. This is one of the main reasons why he constantly wears gloves.

Amab non-binary(still goes by just he/him) Pansexual.

If you make him laugh hard enough, you might hear him snort.

Prolly has the AUGHHHHH snore or just snores normally I can’t decide.

Drools too. (Based off that one photo of him in Louie’s Eleven from dt17 <3333 One of my favorite images)

He likes to read.

A walking heater.

He has an impressive voice range. Does a good job of masking his voice and copying speaking mannerisms. Perfect for prank calls I guess. You’d have to listen for his accent to try and see if it’s him or not, otherwise it can be hard to tell. He can do a decent Johnny Bravo impression(albeit with an accent) and the triplets think it’s hilarious.

Donald:

His sleep schedule is super fucked up because of his time at night as Paperinik.

I can’t decide if I want to keep him as the token cishet for funnies or if I want to give him genuine queer hcs. If I end up on the latter he’s a trans man. Either straight or unlabeled sexuality-wise but with a preference for women.

That was a lot. Thanks for asking!

#Idk if Panchito has a pre-existing family but the brainrot hit so hard that I made him one with a couple of cousins #I am brainstorming more cousins as I type #crisp talks #hcs #disney hcs #cabs hcs #panchito pistoles #josé carioca #donald duck #the three caballeros #Having only two bullets for Donald is kinda funny considering I like him a lot actually

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donfadrique · 10 months

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Previous part

Part Seven

14/🗡️

So, we will not just return to the possible homoerotic plot line—I will be extremely sincere in my conclusions, because my goal was to understand the intention of the director and the film crew.

Let me immediately say about the only negative thing about the scene, and close this issue.

Tyrone Power's poorly drawn mustaches annoy me :) Maybe this was done on purpose, but they annoy ME aesthetically xDD Well, let's move on.

This scene is ambiguous. Look, Diego comes to the party with a lorgnette, begins to act mannered and explains his lateness by saying that his bath was tepid, etc. In general, everyone is indifferent to this—except Capitán Pasquale, who tells Inez, "His bath was tepid. Poor Lolita. I'm afraid her wedded life will be the same."

This can be interpreted in two ways: Pasquale considers Diego to be a pampered and weak fop, unable to use either a steel sword or the sword that he has in his pants (it is believed that men who are too careful about their appearance are not, erm, temperamental). But this could also be a hint at Diego's homosexuality (remember the book's canonical "he seldom wears a blade, and I doubt whether he can use one", "the flashing dark eyes of lovely señoritas do not disturb him", and even "he may wear petticoats, if it please him").

Why does Pasquale say this? Because he is angry that Inez is infatuated with Diego. Regardless of his sexual orientation, Diego is the Capitán's rival (which Pasquale says directly when he sticks a knife into the fruit, hinting to Diego that he would like to do the same with the young man; on the other hand, if someone wants to see in this act of violence against the fruit act of same-sex love, then who am I to restrain your fantasy? xD)

Perhaps the Capitán wants to tell Inez that Diego is physically incapable of satisfying her, but he cannot say it directly because that would be an insult.

It is beneficial for Diego that Capitán Pasquale sees him not just as a weakling and a dandy, but as a "gay caballero" (an expression from Guy Williams). Why?

Well, firstly, this is a book canon, and we are dealing with a film adaptation.

Secondly, it is beneficial for Diego that Capitán Pasquale, instead of envy of his rival, begins to feel complacency, seeing that handsome Don Diego Vega, the son of a rich man, is fascinated by a "second-rate soldier of fortune" who is much older than himself.

So Diego, sitting at the table opposite the Capitán, begins to flirt with him so openly that even a blind monk would have seen it xDD

However, as a result, Pasquale is more surprised and wary than charmed (the Capitán is not a fool, and Diego is more likely to mock him than flirts, and, if you look closely, Diego’s black gaze is much harsher than the Capitán’s gray one).

Capitán Esteban Pasquale: I had the misfortune to kill a man of influence.

Don Luis Quintero: A lady was involved, I believe.

Don Diego Vega: The gentleman's wife, no doubt?

Capitán Esteban Pasquale: Just how did you mean that, señor?

Don Diego Vega: I had hoped to be amusing... Have I failed?

Capitán Esteban Pasquale: Somewhat. With me.

Diego dances with Lolita and proposes marriage to her (more precisely, to her uncle, and Lolita herself, disappointed in Diego and in love with Zorro, runs away—later Diego/Zorro will pay a visit to her bedroom).

Vega also demonstrates magic tricks again (this Diego has a variety of skills: he knows how to flirt with men and to handle weapons, shows magic and acrobatic tricks, understands fragrances etc).

Diego tells Inez that his marriage will help their extramarital affair remain a secret, but Inez is too jealous and tries to dissuade Lolita from the marriage. It's funny that not only does she not consider Diego incapable of loving a woman, she doesn't even notice how Diego flirt with the Capitán (Inez is too confident in her attractiveness to pay attention to such things).

At the end of this scene, Diego admits to his mother that he is not indifferent to Lolita.

NB! Thinking about Diego's "ghostliness", attractiveness, cunning and mockery, I suddenly remembered... kitsune. Kitsune, a mythical creature in Asian mythology and folklore, a fox with supernatural powers. Often plays the role of a trickster. According to legends, it lives for hundreds and even thousands of years, and can also turn into other animals and humans.

There's something about it. Yes, of course, El Zorro is only a mortal, but he's unique.

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