Finding Cash Cow

by Patrick Appel

Ellen announced Finding Nemo sequel Finding Dory on her show a couple days ago:

Christopher Orr is dispirited by the rash of Pixar sequels. He suspects Finding Dory was green-lighted because Nemo was “the third-highest grossing animated film—and the best-selling DVD overall—of all time.” A silver lining:

What I do know is this: If Pixar’s films seem to have been slipping back into the pack of excellent-but-not-transcendent animated features of late, it is in part because that pack has dramatically lifted its game. Kung Fu PandaHow to Train Your DragonDespicable MeTangledRise of the Guardians, and a dozen other recent offerings—animated filmmaking has rarely, if ever, produced such quality in such quantity. And it is very, very hard to imagine that this would have happened if Pixar hadn’t been around to show Hollywood that animated films could be such good films (and, not incidentally, such profitable ones).

How Alyssa thinks about sequels:

I can easily see a sequel to The Incredibles that focuses not on the grown-up Parrs, whose arc is largely resolved, but on their children, who are growing up superpowered in a world where the use of their abilities is technically illegal. For all that I’m charmed by the idea of Monsters University, I don’t see the necessity of an origin story for Mike and Sulley, just as I don’t feel particularly drawn to spend more time with Dory, the cheerful, forgetful fish voiced by Ellen Degeneres in Finding Nemo. For sequels to be artistically necessary, there needs to be some sort of narrative or character-driven urgency to them.