#Pixar as the other animation studio | Explore Tumblr Posts and Blogs

physalian · 21 days

Text

8 Signs your Sequel Needs Work

Sequels, and followup seasons to TV shows, can be very tricky to get right. Most of the time, especially with the onslaught of sequels, remakes, and remake-quels over the past… 15 years? There’s a few stand-outs for sure. I hear Dune Part 2 stuck the landing. Everyone who likes John Wick also likes those sequels. Spiderverse 2 also stuck the landing.

These are less tips and more fundamental pieces of your story that may or may not factor in because every work is different, and this is coming from an audience’s perspective. Maybe some of these will be the flaws you just couldn’t put your finger on before. And, of course, these are all my opinions, for sequels and later seasons that just didn’t work for me.

1. Your vague lore becomes a gimmick

The Force, this mysterious entity that needs no further explanation… is now quantifiable with midichlorians.

In The 100, the little chip that contains the “reincarnation” of the Commanders is now the central plot to their season 6 “invasion of the bodysnatchers” villains.

In The Vampire Diaries, the existence of the “emotion switch” is explicitly disputed as even existing in the earlier seasons, then becomes a very real and physical plot point one can toggle on and off.

I love hard magic systems. I love soft magic systems, too. These two are not evolutions of each other and doing so will ruin your magic system. People fell in love with the hard magic because they liked the rules, the rules made sense, and everything you wrote fit within those rules. Don’t get wacky and suddenly start inventing new rules that break your old ones.

People fell in love with the soft magic because it needed no rules, the magic made sense without overtaking the story or creating plot holes for why it didn’t just save the day. Don’t give your audience everything they never needed to know and impose limitations that didn’t need to be there.

Solving the mystery will never be as satisfying as whatever the reader came up with in their mind. Satisfaction is the death of desire.

2. The established theme becomes un-established

I talked about this point already in this post about theme so the abridged version here: If your story has major themes you’ve set out to explore, like “the dichotomy of good and evil” and you abandon that theme either for a contradictory one, or no theme at all, your sequel will feel less polished and meaningful than its predecessor, because the new story doesn’t have as much (if anything) to say, while the original did.

Jurassic Park is a fantastic, stellar example. First movie is about the folly of human arrogance and the inherent disaster and hubris in thinking one can control forces of nature for superficial gains. The sequels, and then sequel series, never returns to this theme (and also stops remembering that dinosaurs are animals, not generic movie monsters). JP wasn’t just scary because ahhh big scary reptiles. JP was scary because the story is an easily preventable tragedy, and yes the dinosaurs are eating people, but the people only have other people to blame. Dinosaurs are just hungry, frightened animals.

Or, the most obvious example in Pixar’s history: Cars to Cars 2.

3. You focus on the wrong elements based on ‘fan feedback’

We love fans. Fans make us money. Fans do not know what they want out of a sequel. Fans will never know what they want out of a sequel, nor will studios know how to interpret those wants. Ask Star Wars. Heck, ask the last 8 books out of the Percy Jackson universe.

Going back to Cars 2 (and why I loathe the concept of comedic relief characters, truly), Disney saw dollar signs with how popular Mater was, so, logically, they gave fans more Mater. They gave us more car gimmicks, they expanded the lore that no one asked for. They did try to give us new pretty racing venues and new cool characters. The writers really did try, but some random Suit decided a car spy thriller was better and this is what we got.

The elements your sequel focuses on could be points 1 or 2, based on reception. If your audience universally hates a character for legitimate reasons, maybe listen, but if your audience is at war with itself over superficial BS like whether or not she’s a female character, or POC, ignore them and write the character you set out to write. Maybe their arc wasn’t finished yet, and they had a really cool story that never got told.

This could be side-characters, or a specific location/pocket of worldbuilding that really resonated, a romantic subplot, whatever. Point is, careening off your plan without considering the consequences doesn’t usually end well.

4. You don’t focus on the ‘right’ elements

I don’t think anyone out there will happily sit down and enjoy the entirety of Thor: The Dark World. The only reasons I would watch that movie now are because a couple of the jokes are funny, and the whole bit in the middle with Thor and Loki. Why wasn’t this the whole movie? No one cares about the lore, but people really loved Loki, especially when there wasn’t much about him in the MCU at the time, and taking a villain fresh off his big hit with the first Avengers and throwing him in a reluctant “enemy of my enemy” plot for this entire movie would have been amazing.

Loki also refuses to stay dead because he’s too popular, thus we get a cyclical and frustrating arc where he only has development when the producers demand so they can make maximum profit off his character, but back then, in phase 2 world, the mystery around Loki was what made him so compelling and the drama around those two on screen was really good! They bounced so well off each other, they both had very different strengths and perspectives, both had real grievances to air, and in that movie, they *both* lost their mother. It’s not even that it’s a bad sequel, it’s just a plain bad movie.

The movie exists to keep establishing the Infinity Stones with the red one and I can’t remember what the red one does at this point, but it could have so easily done both. The powers that be should have known their strongest elements were Thor and Loki and their relationship, and run with it.

This isn’t “give into the demands of fans who want more Loki” it’s being smart enough to look at your own work and suss out what you think the most intriguing elements are and which have the most room and potential to grow (and also test audiences and beta readers to tell you the ugly truth). Sequels should feel more like natural continuations of the original story, not shameless cash grabs.

5. You walk back character development for ~drama~

As in, characters who got together at the end of book 1 suddenly start fighting because the “will they/won’t they” was the juiciest dynamic of their relationship and you don’t know how to write a compelling, happy couple. Or a character who overcame their snobbery, cowardice, grizzled nature, or phobia suddenly has it again because, again, that was the most compelling part of their character and you don’t know who they are without it.

To be honest, yeah, the buildup of a relationship does tend to be more entertaining in media, but that’s also because solid, respectful, healthy relationships in media are a rarity. Season 1 of Outlander remains the best, in part because of the rapid growth of the main love interest’s relationship. Every season after, they’re already married, already together, and occasionally dealing with baby shenanigans, and it’s them against the world and, yeah, I got bored.

There’s just so much you can do with a freshly established relationship: Those two are a *team* now. The drama and intrigue no longer comes from them against each other, it’s them together against a new antagonist and their different approaches to solving a problem. They can and should still have distinct personalities and perspectives on whatever story you throw them into.

6. It’s the same exact story, just Bigger

I have been sitting on a “how to scale power” post for months now because I’m still not sure on reception but here’s a little bit on what I mean.

Original: Oh no, the big bad guy wants to destroy New York

Sequel: Oh no, the big bad guy wants to destroy the planet

Threequel: Oh no, the big bad guy wants to destroy the galaxy

You knew it wasn’t going to happen the first time, you absolutely know it won’t happen on a bigger scale. Usually, when this happens, plot holes abound. You end up deleting or forgetting about characters’ convenient powers and abilities, deleting or forgetting about established relationships and new ground gained with side characters and entities, and deleting or forgetting about stakes, themes, and actually growing your characters like this isn’t the exact same story, just Bigger.

How many Bond movies are there? Thirty-something? I know some are very, very good and some are not at all good. They’re all Bond movies. People keep watching them because they’re formulaic, but there’s also been seven Bond actors and the movies aren’t one long, continuous, self-referential story about this poor, poor man who has the worst luck in the universe. These sequels aren’t “this but bigger” it’s usually “this, but different”, which is almost always better.

“This, but different now” will demand a different skillset from your hero, different rules to play by, different expectations, and different stakes. It does not just demand your hero learn to punch harder.

Example: Lord Shen from Kung Fu Panda 2 does have more influence than Tai Lung, yes. He’s got a whole city and his backstory is further-reaching, but he’s objectively worse in close combat—so he doesn’t fistfight Po. He has cannons, very dangerous cannons, cannons designed to be so strong that kung fu doesn’t matter. Thus, he’s not necessarily “bigger” he’s just “different” and his whole story demands new perspective.

The differences between Empire Strikes Back and Return of the Jedi are numerous, but the latter relies on “but bigger” and the former went in a whole new direction, while still staying faithful to the themes of the original.

7. It undermines the original by awakening a new problem too soon

I’ve already complained about the mere existence of Heroes of Olympus elsewhere because everything Luke fought and died for only bought that world about a month of peace before the gods came and ripped it all away for More Story.

I’ve also complained that the Star Wars Sequels were always going to spit in the face of a character’s six-movie legacy to bring balance to the Force by just going… nah. Ancient prophecy? Only bought us about 30 years of peace.

Whether it’s too soon, or it’s too closely related to the original, your audience is going to feel a little put-off when they realize how inconsequential this sequel makes the original, particularly in TV shows that run too many seasons and can’t keep upping the ante, like Supernatural.

Kung Fu Panda once again because these two movies are amazing. Shen is completely unrelated to Tai Lung. He’s not threatening the Valley of Peace or Shifu or Oogway or anything the heroes fought for in the original. He’s brand new.

My yearning to see these two on screen together to just watch them verbally spat over both being bratty children disappointed by their parents is unquantifiable. This movie is a damn near perfect sequel. Somebody write me fanfic with these two throwing hands over their drastically different perspectives on kung fu.

8. It’s so divorced from the original that it can barely even be called a sequel

Otherwise known as seasons 5 and 6 of Lost. Otherwise known as: This show was on a sci-fi trajectory and something catastrophic happened to cause a dramatic hairpin turn off that path and into pseudo-biblical territory. Why did it all end in a church? I’m not joking, they did actually abandon The Plan while in a mach 1 nosedive.

I also have a post I’ve been sitting on about how to handle faith in fiction, so I’ll say this: The premise of Lost was the trials and escapades of a group of 48 strangers trying to survive and find rescue off a mysterious island with some creepy, sciency shenanigans going on once they discover that the island isn’t actually uninhabited.

Season 6 is about finding “candidates” to replace the island’s Discount Jesus who serves as the ambassador-protector of the island, who is also immortal until he’s not, and the island becomes a kind of purgatory where they all actually did die in the crash and were just waiting to… die again and go to heaven. Spoiler Alert.

This is also otherwise known as: Oh sh*t, Warner Bros wants more Supernatural? But we wrapped it up so nicely with Sam and Adam in the box with Lucifer. I tried to watch one of those YouTube compilations of Cas’ funny moments because I haven’t seen every episode, and the misery on these actors’ faces as the compilation advanced through the seasons, all the joy and wit sucked from their performances, was just tragic.

I get it. Writers can’t control when the Powers That Be demand More Story so they can run their workhorse into the ground until it stops bleeding money, but if you aren’t controlled by said powers, either take it all back to basics, like Cars 3, or just stop.

—

Sometimes taking your established characters and throwing them into a completely unrecognizable story works, but those unrecongizable stories work that much harder to at least keep the characters' development and progression satisfying and familiar. See this post about timeskips that take generational gaps between the original and the sequel, and still deliver on a satisfying continuation.

TLDR: Sequels are hard and it’s never just one detail that makes them difficult to pull off. They will always be compared to their predecessors, always with the expectations to be as good as or surpass the original, when the original had no such competition. There’s also audience expectations for how they think the story, lore, and relationships should progress. Most faults of sequels, in my opinion, lie in straying too far from the fundamentals of the original without understanding why those fundamentals were so important to the original’s success.

#writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #sequels #kung fu panda

103 notes · View notes

lawbreaker13 · 10 months

Text

There’s something about Elemental that I love but I can’t quite seem to articulate.

[Spoilers by the way]

At the end of the movie, Ember and Wade leave together so Ember can take her internship at the glass company. This is supposedly a full time thing for her, which means she’s moving. Like yeah, she underestimates herself like “oh it probably won’t go anywhere and I’ll be back home soon,” but that’s a very “ooh this is a big step and I don’t feel ready to move out” mentality (literally told my parents I’d be back at the end of my first year’s lease, it’s just a mental safety net, but boy was that a relatable line for me). Regardless of her lack of confidence in herself and this potential new job, she is moving out. And Wade is going with her.

She had said “I want to travel the world with you.” That’s great, and I hope they do, but that’s not what’s happening here. It’s said that this is several months, maybe even a year after the main events of the movie. The majority of the movie itself spans a couple weeks or so (edit: I counted, it’s about 8-12 days). So by the time they leave for Ember’s internship, Ember and Wade have been dating for a while. Anywhere between three months and a year. Wade is leaving with her, and it’s difficult for me to believe they’re going anywhere but the same place. Which means they’re moving in together.

Now I know that it sounds like I’m just freaking out and being incoherent about a ship, but the truth of the matter is, that’s really mature of Pixar.

Family friendly and kid-centric animation tends not to push anything but the “fall in love, kiss, get married, move in, have babies” pipeline. But what I loved about Elemental was that it portrayed a REALISTIC, HEALTHY, and MATURE relationship. One where the couple has arguments about real things that matter and after space, they talk it out. One where “I don’t understand” isn’t an invitation to shut down (even if Ember meant it that way in the heat of the moment), but an invitation to try and learn. One where anger and “I’m leaving” can be met with “I’m coming with you,” and one where the couple doesn’t just love each other right off the bat, they have to DATE MANY TIMES AND GET TO KNOW EACH OTHER, SEE EACH OTHER IN THE WORST OF TIMES, and THEN, realize they’re in love. AND they said it out loud, which doesn’t happen often either (edit: I am well aware that a week or two is a very short amount of time to fall in love, but I’m gonna cut them A LITTLE slack because it’s not like. 3 days, and also they seemingly saw each other every single day for those couple weeks and had the months after that. It’s rare, but sometimes, when you know, you know).

But beyond that. Beyond dating, getting to know each other, communicating and helping each other out, and deciding “yes, we can and should be together,” Elemental showed these two doing an adult thing together—leaving home and moving out. Because they are ADULTS. And the fact that I felt like this movie was targeted towards me and my peers the same way a PG-13 or R rated movie might be, strictly because of the realism in the character’s interactions and dynamic, that is something that I absolutely adore. Like, Zootopia was a kid’s movie with mature themes. Miraculous is a kid’s show with mature themes. Even Avatar: The Last Airbender was clearly targeted towards children, even though we all know it has something for everyone.

But Puss in Boots: The Last Wish. The Spider-Verse movies. And honestly, Elemental. These feel like our movies. Movies I’m glad the kids can enjoy, but they’re made for us. The 20- and 30-year-olds.

I’m just so happy to see animation studios treating adult characters like real people. Maybe soon people will start to recognize animation as a legitimate form of storytelling, too.

I loved Elemental. I really did.

#AND THAT’S MY RANT #Elemental #Wade Ripple #Ember Lumen #Animation #Animated movies #Animated shows #Elemental Pixar #Miraculous Ladybug #Puss in Boots The Last Wish #Avatar the Last Airbender #Into the Spider Verse #Across the Spider Verse #Pixar #Rant #Mine

398 notes · View notes

poitcast · 7 months

Text

Moments from "Once Upon a Studio" that I adored

Mickey kindly offered Oswald to take first place in the group photo, telling him "After you!". Oswald happily thanked him by tipping his head to him.

That entire ending was perfect. I love how the "When You Wish Upon a Star" number began with Alan-a-Dale strumming his lute on top of the building, and then Scat Cat, Mirabel, and Junior join in before the singing begins. The build-up to Jiminy Cricket was great.

Belle and Beast singing together! In the original film, they had separate verses in "Something There" so it was nice that they shared a small duet. Paige O'Hara and Robby Benson did a great job!

Quasimodo singing! I'm glad to hear Tom Hulce in the role of Quasi again. James Baxter did a terrific job animating him once again.

Scuttle interrupts Ariel's verse only for Baloo to shut him up and share a sweet bonding moment with Mowgli.

There's something incredibly poetic about Snow White holding hands with Mulan and Asha as they sing together. Disney Studios owes a lot of its success to its princess characters, and it was cool to see three generations of female protagonists (the original, the Renaissance era in the 1990s, and the most recent era).

Winnie the Pooh's presence in general. I love how Christopher Robin and the others have to help him out of the picture frame, recreating the rabbit hole scene. Also, Pooh singing "Fate steps in, and sees you through" at the end and Tigger pouncing on him really got to me.

Cinderella and Prince Charming going down the stairs and Charming loses his shoe. The role reversal was cute enough, but after snatches the shoe, they go into silly mode with Prince Charming shouting "Eric, get your dog!" and Cinderella enabling the situation by saying "Go, Max, go!" It's incredibly endearing to see Prince Charming have a sense of humor and Cinderella happily going along with the shenanigans.

Antonio with the other animal characters and telling Joanna not to eat Jacques and Gus. Pluto coming in to save the mice was nice too.

Incorporating the archival audio from Robin Williams's recording as Genie.

The fifteen puppies watching the "Night on Bald Mountain" segment from Fantasia and Chernabog pops out of the screen. I also noted the various "Art of" books of their feature films on the cabinet surrounding the television.

Hearing Nathan Lane as Timon again and calling Olaf "Frosty".

Robin Hood and Little John snatching Scrooge McDuck's money bags and reveling in their victory. Oo-de-lolly!

The Wreck-It Ralph cameos! Vanellope on her race car, Ralph calling Mickey "Garfield" and Fix-It Felix fixing Goofy's camera. All in character and perfect.

Mickey's gang having their time in the spotlight. Donald trying to go down a crowded elevator, Goofy working as the photographer (may or may not be a subtle nod to his occupation in A Goofy Movie), and even Clarabelle has a moment.

It was nice seeing some representation for their shorts (Ben and Me, Johnny Appleseed) and their overlooked films (The Black Cauldron, Home on the Range, Chicken Little, and Dinosaur). Even if they didn't have any dialogue, their presence alone certainly counts.

Highlighting the artists that contributed to the studio. Burny Mattinson's cameo at the beginning was nice, and though Walt Disney himself was very much a complicated person (staunchly anti-union being one of them), the moment of Mickey staring at his portrait was genuine enough (Mickey says a simple "thanks" before he joins the rest of the characters). The framed photographs of various artists throughout the halls was also nice (I'm sure the actual building has those framed pictures of their former employees). I would have been a lot more critical of the short if many of the presence of the other artists weren't felt in the studio.

Overall, it was a great short! It was a beautiful love letter to the animation studio and its characters. I'm glad that they didn't incorporate any Pixar stuff and even flaunt their acquired assets (Star Wars, Marvel, etc.). It was just about celebrating their original animated works and the large catalog of characters. The animation was also fantastic and it was cool seeing the 2-D characters interact with the CG characters in a way that felt natural. I greatly appreciate the effort and love that was put into the short.

#once upon a studio #disney #beauty and the beast #the huncback of notre dame #winnie the pooh #wreck-it ralph #mulan #robin hood #the jungle book #the little mermaid #cinderella #encanto #animation

253 notes · View notes

heymusings · 3 months

Text

Wish was fine, but overall disappointing for a film that is supposed to mark the celebration of 100 years of Disney animation. As much as I love Disney, I can't deny that it did not live up to what it was intended to be. 1) Originally it was to be hand drawn animation & go back to the roots, only to backtrack & do computer animation instead with the argument that they used 2d backdrops so it's the same thing. It’s not. It’s really disappointing to me because Disney has gotten stuck on the animation front. They now seem to look down on hand drawn animation which is ridiculous because people are screaming for a return to that style. I feel like they use their last hand drawn film as an excuse to not create such films anymore because they aren't successful. In reality, they didn't promote those films so people just weren't that aware of them when they were in theaters. This has become a bad habit of Disney. The mixing of animation styles at several points seemed disjointed. Plus, there is the fact that so many other animation studios have been doing mixed animation better & are outpacing Disney in animation development because Disney isn’t really doing anything as new or daring as other studios. I am not saying the animation of the film is bad, in fact, it is still pretty, but Disney/Pixar’s style has remained pretty much the same since the early 2000s. 2nd, Others have discussed this issue & I agree. There was nothing all that interesting about Asha & she certainly isn’t unique because it's pretty much the same personality we’ve seen in the last several years of Disney films. 3rd, Why the hell is the King’s wife even in this movie?! If they weren’t going to go with the original intent of them being almost a crime family duo (which, by the way, it is a travesty they didn't do this idea), just cut her character because she really hindered my seeing Magnifico as an interesting villain. In fact, cut the semi sympathetic backstory. He should’ve been more evil and honestly until Asha’s interference he wasn’t that bad. I would just like a fully evil Disney villain who is a full villain from the get go. He has a Dr. Facilier vibe, which is great, but Disney has & could’ve dug deeper & committed. There was so much potential here. 4th, The songs were mediocre at best and it’s exceedingly obvious that the writers aren’t musical writers. The songs don’t tell a cohesive story or develop character much, and they certainly don’t have much depth, they’re just there. They’re not songs that people are going to be singing. I honestly think that Howard Ashman is rolling over in his grave due to the soundtrack of this movie. 5th,There are way too many characters. Asha’s friends are the most forgettable wastes of time. I get the want to reference Seven Dwarfs but them, plus valentino, plus the star…too many to care. I think it was one reference that could’ve been left behind (it’s not like there weren’t many references to Disney animation throughout to make up for it– because there were TONS). 6th, that is the lamest dress change that Disney has ever done. With so many epic and magical dress changes how is this what they come up with? They literally went, just make what she’s already wearing sparkle and call it a day. Everything being said, I do like the idea of this being the starting point for Disney stories and Asha being the first fairy godmother. That is a great idea and is perfect for this 100 years of Disney animation. It’s just that there were so many things that just did not live up to or respect the history of Disney animation as this film was supposed to do.

#disney #analysis #film #wish

61 notes · View notes

cartoonyfangirl · 7 months

Text

Okay! After watching Once Upon A Studio the 100th time, I'm just gonna say it!

Disney! CAN WE PLEASE HAVE THIS SHORT BE A SHOW OR A SHORT SERIES!

Like you have all of these characters both 3D and 2D, and I know darn well that you guys know that this short is a huge success, jump on that train!

You know what! I'm just gonna put down how this show would be, and my exceptions and nots

(Exception 1 - The only other characters that would appear outside of WDAS would be characters from DisneyToon Studios, so like characters from the sequels, A Goofy Movie, Ducktales! Treasure of the lost lamp, and the Tinkerbell characters. I still would not include Pixar, Marvel, Muppets, Star Wars, and etc, that would be more if Disney wants to do a full on House Of Mouse sequel, but if it's a spiritual successor, then this would be at the studio

(Exception 2 - However, some characters from those said IP's can be mentioned as like a cameo or name mention, just because they don't appear, doesn't mean they can't be mentioned)

Okay, now for how the show/short series plays out

(The show/short series would take place at the Walt Disney Animation Studio in Burbank, since I think that's where the short took place.)

(When everyone leaves, that's when the characters come out, and thus, whatever plot takes place, that's when the episode/short begins)

(Characters can appear on the sidelines, making sure that it adds character and life into this, rather it be them just talking and walking, grabbing some food, or just causing mischief)

Now for some ideas for episodes

(A New Rabbit - Oswald notices that he is the odd one out in the huge group, so with the help of Mickey and his pals, they try to give the Lucky Rabbit a makeover only both Walt and the fans would love. This would be the Epic Mickey design that we all love, and Frank Welker would return to voice the rabbit once more!)

(A Royal Night Out - Tiana plans a huge night for all of the Disney Princesses and Princes, and Asha feels worried that she might stick out in the group, since she is the newest princess in the studio lot. But over the course of the short/episode, we not only see her get comfortable around the princesses and princes (They would be such gentlemen to her), but also stuff that maybe the voice performers can ad-lib in, to make them feel more natural!)

(Father/Son Meeting - Goofy realizes how many Disney parents and children have either a father/son and or father/daughter dynamics, and so he plans out a huge evening where the pairs would get to know each other, and discuss the situations they were put through, Max would make his first appearance in nearly 20 years in this, helping his father, and also getting to know the rest of the other kids that also go through what Max dealt with in his films)

(These ideas are from @shellyswirlz I was given permission to share and give some disney touches to these!

(Puppy-Sitting) - Kristoff, Ryder, and Honeymaren are asked upon by Roger and Anita if they could take care of the puppies while they take Pongo and Perdita on their evening walk, to which the three say yes to (Because I feel like Kristoff would be a dog person for sure!) Cruella sees this as her opportunity to try and get the dogs again, but this time from different people. Over the course of the episode/short, the puppies get into some trouble, from either running around the animation building, to hiding in some of the shelves. This causes problems for both Kristoff, Ryder, Honeymaren, and even Cruella, who misses her chance every time. In the end, it's Anna, Elsa, and even Olaf who would help wrangle the puppies back together again, and just in time before Roger and Anita get back. Cruella would be upset that she didn't manage to snag any of the puppies, but her anger would instantly disappear when she sees the other animals, and soon begins hatching plans for that

(Tinkering About) - Some of the Disney kids are drawing some of their favorite characters from their favorite shows and films, and Tinker Bell watches from afar, thinking of a fun, yet mischievous plan. Once the children leave to play outside, Tinker Bell uses her magic to make the drawings come to life, and soon, they begin to cause mischief around the building and even the studio. For the doodles, this would be the only time characters outside of WDAS would make their cameo appearances (Such as Sulley, Kermit and Gonzo, Grogu, and etc). Mickey and Oswald notice the weird drawing creations, and soon begin to place them back into the paper they came from. They soon figure out that Tinker Bell is behind the tinkering, and soon, Peter Pan manages to stop her before she could make anything else pop out. She realizes her mistakes, and apologizes, Peter Pan, being the only one that can understand her, accepts it, but he tells her not to do it again, or else she wouldn't be allowed to be with him.

(A Caballero Reunion!) - Donald is overjoyed once more to see his pals Jose and Panchito again! Jose comes up with the idea of performing for the whole group, like they did back in the beginning when they first performed. Donald and Panchito agree, and soon throughout the episode, we see them getting ready, reminiscing on the days they first interacted, and even recalling some of their favorite moments from their film. Towards the end, they would have a huge performance, but soon realize that some of their instruments have become worn out from years of not being used. But soon some of the other Disney characters would join in to help, and soon, the Three Caballeros would sing their iconic song, alongside the rest of the Disney crew!

Those are what I have so far, but please, if anyone has any ideas/scenarios/and HC's for this, either tag this post, repost and add your share, and or comment down below!

(Cricket In A Lamp) - Jiminy Cricket rushes to Pinocchio's side, once again after accidentally oversleeping once more, but just as he's about to get to his side, he falls into Genie's lamp. Pinocchio is beside Aladdin, learning about what he, Jasmine, and the others went through in their film, and tells him that he's lucky to have The Genie by his side. The Genie soon appears, and decides to get some rest, but when he tries to get into his lamp, he isn't able to. Aladdin thinks this is a joke, but soon, they hear Jiminy's voice coming from the lamp! The three soon try to figure out how to get him out, considering it's a magic lamp, and messing with it can cause trouble. After a few different tactics and even some characters making their honorary cameos, it seems like it's hopeless, until some of the smaller characters decide to help out, and ask if they can be lowered in, so they can grab Jiminy out (I'm thinking it might be Bernard, Bianca, and the rest of the other small Disney characters). After some time, they managed to get Jiminy out, and of course Pinocchio was overjoyed to see him safe and sound. Genie apologizes for the lamp trouble, to which Jiminy cuts in, saying he fell in on accident, and that he should be more careful in where he's running to.

(I'm Late! I'm Late! For A Very Important Dinner Party!) - Mickey and Minnie decide to plan a big dinner party for the newcomer Asha, and soon get the help from some of the Disney Characters to deliver the invitations to the party. Once night falls, everyone arrives on time, except for one! The White Rabbit! He notices that the time on his watch is all wrong, and he quickly hurries to the dinner party. This episode would mostly be shenanigans and even ad-libbed stuff from characters old and new, and of course The White Rabbit dealing with his troubles as well! In the end, he makes it towards the end of the party, and enjoys the last few minutes with those that care about him

(This Is Dedicated To The Toon I Love!) - For the first time in nearly 25 years, Sylvia makes her return appearance in this episode/short. Goofy and Horace write love letters to Sylvia and Clarabelle. But when Horace accidentally leaves his name out of his letter, Clarabelle thinks that it's from Horace, wanting to see if they can rekindle their relationship. At first she is ecstatic, but then realizes that he couldn't possibly be in love with someone like her, and soon, she dismisses the first idea, and thinks who would have a crush on her. Shenanigans would pursue, with her going around the studio lot, basically seeing who is catching her eye. After hours on end, Clarabelle breaks down, seeing that there wasn't any signs that someone loved her on the lot, and she would never find out who wrote her the letter, Horace, Goofy, and Sylvia find her, and Horace bashfully admits that he wrote the letter to her, but he forgot to place his name down. Clarabelle becomes overjoyed, and the two share a kiss. Goofy is happy to see his long-time friends get together once more, and decides to have a double date with him and Sylvia, and Clarabelle and Horace!

@rikareena @silliesbillies @imaginationinstitutes

#once upon a studio #show idea #what if once upon a studio had a show/short series #disney #disney100 #spirtual successor #house of mouse but modern disney

84 notes · View notes