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paternity". As is true throughout history, sequels to novels provided an opportunity for authors to interact with a readership. This became especially important in the economy of the 18th century novel, in which authors often maintained readership by drawing readers back with the promise of more of what they liked from the original. With sequels, therefore, came the implicit division of readers by authors into the categories of "desirable" and "undesirable"—that is, those who interpret the text in a way unsanctioned by the author. Only after having achieved a significant reader base would an author feel free to alienate or ignore the "undesirable" readers.
1144:, Betty Schellenberg theorizes that whereas for male writers in the 18th century sequels often served as "models of paternity and property", for women writers these models were more likely to be seen as transgressive. Instead, the recurring readership created by sequels let female writers function within the model of "familiar acquaintances reunited to enjoy the mutual pleasures of conversation", and made their writing an "activity within a private, non-economic sphere". Through this created perception women writers were able to break into the economic sphere and "enhance their professional status" through authorship.
1249:. The shorter the period between releases, the better the sequel does at the box office. Sequels also show a faster drop in weekly revenues relative to non-sequels. A quantitative mega-analysis of box office earnings from all the major movie studios revealed that franchise movies dominate the highest grossing films lists, establishing sequels as reliable kinds of movies to make. All studios have come to rely on releasing sequels as they increase the studios' profitability, yield to the consumer demand for simultaneous novelty and familiarity, and help manage risk and uncertainty within studio production and release.
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1177:
1084:– that is, the development of a "sense of identity based on a marketable skill and on supplying to a defined public a specialized service it was demanding." In one sense, then, sequels became a means to profit further from previous work that had already obtained some measure of commercial success. As the establishment of a readership became increasingly important to the economic viability of authorship, sequels offered a means to establish a recurring economic outlet.
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1215:. Today, new installments of established brands make up much of the new releases from mainstream publishers and provide a reliable source of revenue, smoothing out market volatility. Sequels are often perceived to be safer than original titles because they can draw from an established customer base, and generally keep to the formula that made the previous game successful.
767:
is a work inspired by its predecessor. It shares the same styles, genres and elements as its predecessor, but has no direct connection to it at all. Most spiritual sequels are also set in different universes from their predecessors, and some spiritual sequels aren't even a part of their predecessor's
1083:
and the rise of the market system by the early 18th-century meant that an author's merit and livelihood became increasingly linked to the number of copies of a work he or she could sell. This shift from a text-based to an author-centered reading culture led to the "professionalization" of the author
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is a work that is not a sequel to any previous works, but is set in the same universe. It is a separate work-on-its-own in the same franchise as the series of other works. Spin-offs are often focused on one or more of the minor characters from the other work or new characters in the same universe as
1028:
are examples of reboot films. Kathleen Loock has written that traditional reboots tended to stray away from depicting direct narrative or stylistic correlations to the previous versions of the franchise. Contemporary reboots lean into the nostalgia factor and create new stories that simultaneously
285:
In film, sequels are very common. There are many name formats for sequels. Sometimes, they either have unrelated titles or have a letter added to the end. More commonly, they have numbers at the end or have added words at the end. It is also common for a sequel to have a variation of the original
1147:
Dissociated from the motives of profit and therefore unrestrained by the need for continuity felt by male writers, Schellenberg argues that female-authored sequel fiction tended to have a much broader scope. He says that women writers showed an "innovative freedom" that male writers rejected to
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laws and unscrupulous booksellers willing to sell whatever they could, in some cases the only way to prove ownership of a text was to produce another like it. Sequels in this sense are rather limited in scope, as the authors are focused on producing "more of the same" to defend their "literary
493:
is a work that follows the continuity of the original work(s), but takes place further along the timeline, often focusing on new characters with the original ones still present in the plot. Legacy sequels are sometimes also direct sequels that ignore previous installments entirely, effectively
281:
Sequels are attractive to creators and publishers because there is less risk involved in returning to a story with known popularity rather than developing new and untested characters and settings. Audiences are sometimes eager for more stories about popular characters or settings, making the
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is a work set in the same universe of its predecessor that resets the plot in a different premise and/or setting of the work's predecessor with more than one of the same predecessor characters to appease the audience due to extremely negative reception of the predecessor. An example;
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title or a subtitle. In the 1930s, many musical sequels had the year included in the title. Sometimes sequels are released with different titles in different countries, because of the perceived brand recognition. There are several ways that subsequent works can be related to the
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Sequels are most often produced in the same medium as the previous work (e.g. a film sequel is usually a sequel to another film). Producing sequels to a work in another medium has also become common, especially when the new medium is less costly or time-consuming to produce.
1237:. Multiple sequels are often planned well in advance, and actors and directors may sign extended contracts to ensure their participation. This can extend into a series/franchise's initial production's plot to provide story material to develop for sequels called sequel hooks.
991:
is a start over from a previous work. It could either be a film set in a new universe resembling the old one or it could be a regular spin-off film that starts a new film series. Reboots are usually a part of the same media franchise as the previous work(s), but not always.
431:
is a story that takes place in between two previously published or released stories. For example, if 'movie C' is an interquel of 'movies A' and 'B', the events of 'movie C' take place after the events of 'movie A', but before the events of 'movie B'. Examples can include
1871:
the audience learns about how Darth Vader originally became a villain. A prequel assumes that the audience is familiar with the original—the audience must rework the narrative so that they can understand how the prequel leads up to the beginning of the
302:
The most common approach is for the events of the second work to directly follow the events of the first one, either resolving the remaining plot threads or introducing a new conflict to drive the events of the second story. This is often called a
1121:, an 18th-century author who responded particularly strongly against the appropriation of his material by unauthorized third parties. Richardson was extremely vocal in his disapproval of the way the protagonist of his novel
1099:), with the emphasis on the author function that arises in conjunction with the novel many authors began to see these kinds of unauthorized extensions as being in direct conflict with authorial authority. In the matter of
619:(1981). Film journalist Pamela McClintock describes a requel as something that "exploits goodwill toward the past while launching a new generation of actors and stories". The term was popularized by the film
2220:
he Del Whitby trilogy... intriguingly tells the same noisy tale of interstellar intrigue and revolution from three partial points of view; none of the protagonists (orphans or impostors all) knows the whole
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that was written with explicit permission from
Stevenson's executor, tells the origin of the buried treasure and recasts many of Stevenson's pirates in their younger years, giving the hidden treasure some
1402:
Sometimes sequels are produced without the consent of the creator of the original work. These may be dubbed unofficial, informal, unauthorized, or illegitimate sequels. In some cases, the work is in the
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This concept of "undesirable" readers extends to unofficial sequels with the 18th century novel. While in certain historical contexts unofficial sequels were actually the norm (for an example, see
2296:
Schellenberg, Betty A. (2007). "The
Measured Lines of the Copyist: Sequels, Reviews, and the Discourse of Authorship in England, 1749–1800". In Taylor Bourdeau, Debra; Kraft, Elizabeth (eds.).
823:(1975) — involve different lead characters, mostly in different places, but overlap at one dramatic event to which each novel provides a different perspective. Strict legacy parallels are
2320:
Of particular interest to me in this essay is the shift from a text-based to an author-based culture, accompanied by a developing elevation of the original author over the imitative one.
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Some highly popular movies and television series have inspired the production of multiple novel sequels, sometimes rivaling or even dwarfing the volume of works in the original medium.
330:
is an installment that is made following the original product which portrays events occurring chronologically before those of the original work. Although its name is based on the word
1117:, an unauthorized sequel. In response, Cervantes very firmly kills the protagonist at the end of the Second Part to discourage any more such creative liberties. Another example is
1520:, written by Spyri's French and English translator, Charles Tritten, after a three-decade long period of pondering what to write, since Spyri's death gave no sequel of her own.
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is a work set in the same universe, yet has little or no narrative connection to its predecessor, and can stand on its own without a thorough understanding of the series.
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Movie sequels do not always do as well at the box office as the original, but they tend to do better than non-sequels, according to a study in the July 2008 issue of the
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A sequel to a popular but discontinued television series may be produced in another medium, thereby bypassing whatever factors led to the series' cancellation.
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In some cases, the characters or the settings of an original film or video game become so valuable that they develop into a series, lately referred to as a
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at the time of her death in 1992. This was to have been the story of Jane's stepdaughter Adèle Varens and her mother Céline. Only a synopsis survives.
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In addition to serving economic profit, the sequel was also used as a method to strengthen an author's claim to his literary property. With weak
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In many cases, the sequel continues elements of the original story, often with the same characters and settings. A sequel can lead to a
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772:. Spiritual sequels can sometimes be repurposed from material originally intended to be direct sequels. An example of this is
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1962:
1041:, David Brewer describes a reader's desire to "see more", or to know what happens next in the narrative after it has ended.
334:, not all prequels are true prequels that are part of a main series. Prequels that are not part of a main series are called
278:, in which key elements appear repeatedly. The difference between more than one sequel and a series is somewhat arbitrary.
2019:
1407:, and there is no legal obstacle to producing sequels. An example would be books and films serving as sequels to the book
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Michie, Allen. "Far From Simple: Sarah
Fielding's Familiar Letters and the Limits of the Eighteenth-Century Sequel" in
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was repeatedly incorporated into unauthorized sequels featuring particularly lewd plots. The most famous of these is
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Schellenberg, Betty A. "'To Renew Their Former
Acquaintance': Print, Gender, and Some Eighteenth-Century Sequels."
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141:
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How the Movies Saved
Christmas: 228 Rescues from Clausnappers, Sleigh Crashes, Lost Presents and Holiday Disasters
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The trajectory line for triple-A games ... goes up tenfold every 10 years and has since at least 1995 or so ...
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is a story that runs at the same point in time as the original story. For instance, three different novels by
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is a term used to refer to works which take place between events. Types include interquels and intraquels. An
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1447:(1913) is a novel by Sybil G. Brinton that is generally acknowledged to be the first sequel to the works of
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are extremely innovative and cover almost the entire range of popular narrative styles of the 18th century.
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stories. Among many changes the
Martians are changed into simple vampires, who suck and ingest human blood.
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1540:" as a prequel (with Holmes being the man who bought the egg at the end) and includes a crossover with
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2530:"Managing uncertainty in creative industries: Film sequels and Hollywood's profitability, 1988–2015"
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Alongside sequels, there are also other types of continuation or inspiration of a previous work.
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470:, on the other hand, is a work which focuses on events within a previous work. Examples include
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is a work where two previous works from different franchises are meeting in the same universe.
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1536:'s adventures during the Martian occupation of London. This version uses Wells' short story "
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843:(1955) from the viewpoint of benevolent Mordorians combatting the malevolent West. Likewise,
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863:(1936), tells the life story of a mulatto woman born enslaved on the O'Hara plantation and
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2342:. Ed. Paul Budra and Betty A. Schellenberg. New York: University of Toronto, 1998. Print.
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2680:"War of the Worlds gets a sequel 119 years on – but what about all the unofficial ones?"
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revel in the aspects of the original franchise that made it notable in the first place.
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2451:"Video Game Development Costs Continue to Rise in Face of Nearly 12K Layoffs Since '08"
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To Renew Their Former
Acquaintance: Print, Gender, and Some Eighteenth Century Sequels
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2579:"'Mr. Holmes' Lawsuit: Arthur Conan Doyle Estate Sues Bill Condon & Distributors"
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2139:. Cinematic Slant. 14 August 2018. Archived from the original on September 12, 2018
2020:"'Batman v. Superman,' 'Star Wars' and Hollywood's New Obsession With the "Requel""
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The origin of the sequel as it is conceived in the 21st century developed from the
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traditions in a slow process that culminated towards the end of the 17th century.
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1105:(an early novel, perhaps better classified as a satirical romance), for example,
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2622:"In the beginning, there was fan fiction: from the four gospels to Fifty Shades"
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1992:"Bruce Campbell Finally Settled the 'Evil Dead 2' "Sequel or Remake?" Debate"
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1490:(1935) is a sequel by H. A. Calahan, the introduction of which argues that
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are examples of legacy sequels. Another term for these types of movies is
354:(2004) which took place chronologically before the events of the previous
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2235:"Reboot, Requel, Legacyquel: Jurassic World and the Nostalgia Franchise"
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1479:
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287:
244:
236:
224:
2865:: "The Midas Formula (How to create a billion-dollar movie franchise)"
2516:
Newswise: Researchers
Investigate Box Office Impact Vs. Original Movie
1012:
27:
Part of a linear narrative that continues the story of a previous work
1757:
1712:
1612:
1419:
1211:
video game has risen, sequels have become increasingly common in the
1088:
943:
518:
446:
291:
256:
2394:, Edited by Bourdeau and Kraft. Cranbury, NJ: Rosemont, 2007. Print.
1272:
104:
71:. Statements consisting only of original research should be removed.
2861:
1565:(due to time travel elements), which also integrates the events of
1384:
201:
2528:
Pokorny, Michael; Miskell, Peter; Sedgwick, John (February 2019).
1418:). In other cases, the original creator or their heirs may assert
2077:. August 22, 2013. Archived from the original on August 24, 2013.
2075:"Exclusive: And The Title Of PIRATES OF THE CARIBBEAN 5 Will Be…"
1762:
1717:
1464:
1158:
Familiar
Letters between the Principal Characters in David Simple
1133:
1115:
Second Volume of the
Ingenious Gentleman Don Quixote of La Mancha
1069:
1064:, was an official sequel novel written to satisfy popular demand.
949:
885:
472:
327:
260:
232:
2188:
Building Imaginary Worlds: The Theory and History of Subcreation
1357:
each have a sequel unrelated to the other sequels: respectively
1732:
883:(2007), where the events are revealed to be overlapping within
879:
2334:
2332:
2330:
2328:
1925:
The Enchanted Screen: The Unknown History of Fairy-Tale Films
1516:
458:
240:
1233:. Generally, a whole series of sequels is made, along with
338:, while prequels that are part of a main series are called
228:
2325:
2666:"Heidi has a secret past: she sneaked in over the border"
2381:. Philadelphia: University of Pennsylvania, 2005. Print.
2299:
On Second Thought: Updating the Eighteenth-century Text
2527:
2353:
Part Two: Reflections on the Sequel (Theory / Culture)
2340:
Part Two: Reflections on the Sequel (Theory / Culture)
2286:
Philadelphia: University of Pennsylvania, 2005. Print.
1583:
that was intended as a direct sequel to Orwell's work.
379:(2008) occurring chronologically before the events of
2351:
Budra, Paul, and Betty Schellenberg. "Introduction."
2101:
603:, meaning reboot sequel, a term originally coined by
2834:
Second Takes: Critical Approaches to the Film Sequel
1963:"Do legacy sequels fail if they pander to the fans?"
2788:
The Hollywood Sequel: History & Form, 1911-2010
2739:"Theatre: Nights at the Circus | The Observer"
1949:"6 Films That Are Waiting for Their Legacy Sequels"
129:. Unsourced material may be challenged and removed.
2832:Jess-Cooke, Carolyn; Verevis, Constantine (2012).
1445:: An Imaginary Sequel to the Novels of Jane Austen
586:Indiana Jones and the Kingdom of the Crystal Skull
2831:
373:but also having some scenes after and during it,
2879:
2241:, Edinburgh University Press, pp. 173–188,
877:. Major film examples of true parallels include
681:Pirates of the Caribbean: Dead Men Tell No Tales
255:, some earlier work. In the common context of a
2355:. New York: University of Toronto, 1998. Print.
2137:"Five Films Show How 2008 Redefined the Movies"
1079:The substantial shift toward a rapidly growing
2733:
2717:"LEWIS CARROLL IS STILL DEAD (Published 1985)"
1977:"Creed 2 Loses Sylvester Stallone as Director"
1708:List of film sequels by box-office performance
2364:Riley, E.C. "Three Versions of Don Quixote".
2226:
1863:Prequels focus on the action that took place
1654:of, and an informal sequel to, the events of
1646:) (1999) is a fantasy book by Russian author
1422:, and challenge the creators of the sequels.
1414:which is in the public domain (as opposed to
282:production of sequels financially appealing.
2603:"Austen mashups are nothing new to Janeites"
2302:. University of Delaware Press. p. 27.
2295:
1869:Star Wars: Episode III – Revenge of the Sith
1494:wanted to write a continuation of the story.
953:are examples of spin-off television series.
869:(2004), featuring the origins of characters
1937:The Routledge Companion to Imaginary Worlds
1887:The Routledge Companion to Imaginary Worlds
1838:
1366:101 Dalmatians II: Patch's London Adventure
1301:. Unsourced material may be challenged and
732:(2024) are examples of standalone sequels.
675:Pirates of the Caribbean: On Stranger Tides
263:, a sequel portrays events set in the same
2808:
2045:"The Making of 'Pirates of the Caribbean'"
2017:
1832:
1482:antecedents not mentioned in the original.
1263:List of films based on television programs
1259:List of television programs based on films
2785:
2545:
2429:
1867:the original narrative. For instance, in
1782:
1321:Learn how and when to remove this message
1252:
189:Learn how and when to remove this message
87:Learn how and when to remove this message
2619:
2247:10.3366/edinburgh/9781474451369.003.0012
2042:
1388:
1148:"protect their patrimony". For example,
1048:
699:The SpongeBob Movie: Sponge Out of Water
397:The Little Mermaid II: Return to the Sea
200:
2489:
2102:Michael Andre-Driussi (1 August 2008).
1989:
1877:
1841:Genre Studies in Mass Media: A Handbook
1783:Fabrikant, Geraldine (March 12, 1991).
1044:
778:(2018), a spiritual sequel to the film
367:(2015-2022) taking place mainly before
14:
2880:
2714:
2576:
2448:
2403:
2284:The Afterlife of Character, 1726–1825.
1890:. Taylor & Francis. pp. 82–.
1785:"Sequels of Hit Films Now Often Loser"
1561:presents both a sequel and prequel to
935:are examples of spin-off movies while
2762:
2466:"In Video Games, Sequels Are Winners"
2379:The Afterlife of Character, 1726–1825
2232:
1807:
1620:Mrs. Rochester: A Sequel to Jane Eyre
1378:
663:The Fast and the Furious: Tokyo Drift
376:The Little Mermaid: Ariel's Beginning
2463:
1883:
1299:adding citations to reliable sources
1266:
1171:
127:adding citations to reliable sources
98:
36:
2873:: Film franchise earning comparison
2432:"Cost headache for game developers"
2430:Takatsuki, Yo (December 27, 2007).
2206:The Encyclopedia of Science Fiction
1697:Klinger v. Conan Doyle Estate, Ltd.
1218:
294:have been coined to describe them.
271:following the events of that work.
24:
2779:
2043:Galloway, Stephen (May 10, 2011).
1529:Sherlock Holmes' War of the Worlds
984:are examples of a crossover film.
651:Halloween III: Season of the Witch
297:
25:
2919:
2855:
2763:Smith, Kevin (23 February 2011).
2620:Morrison, Ewan (13 August 2012).
2464:Taub, Eric (September 20, 2004).
2404:Koster, Raph (January 23, 2018).
2018:McClintock, Pamela (2016-03-30).
1504:Heidi Grows Up: A Sequel to Heidi
723:Glass Onion: A Knives Out Mystery
2490:Richtel, Matt (August 8, 2005).
2449:Mattas, Jeff (12 January 2010).
1271:
1175:
873:occurring simultaneously within
687:Ghost Rider: Spirit of Vengeance
406:(2024), which took place before
103:
41:
2769:Scholarly Communications @ Duke
2756:
2727:
2708:
2690:
2672:
2658:
2646:
2632:
2613:
2595:
2570:
2521:
2509:
2492:"Relying on Video Game Sequels"
2483:
2457:
2442:
2423:
2397:
2384:
2371:
2358:
2345:
2289:
2276:
2193:
2180:
2165:
2129:
2095:
2067:
2036:
2011:
1983:
1969:
1526:and his son Wade Wellman wrote
1451:and as such the first piece of
833:(1999) retelling the events of
342:. Examples of prequels include
114:needs additional citations for
2655:- foreword, by Charles Tritten
2577:Patten, Dominic (2015-05-22).
2233:Loock, Kathleen (2020-09-15),
2108:. Sirius Fiction. p. 21.
2105:Lexicon Urthus, Second Edition
1955:
1941:
1929:
1917:
1904:
1808:Rosen, David (June 15, 2011).
1801:
1776:
1588:Alice Through the Needle's Eye
1346:The Hundred and One Dalmatians
1167:
1111:Alonso Fernández de Avellaneda
938:Star Trek: The Next Generation
13:
1:
1769:
1703:List of video game franchises
1240:
1162:David Simple, Volume the Last
345:Star Wars: The Phantom Menace
2809:Jess-Cooke, Carolyn (2012).
2765:"One ring to rule them all?"
1990:Squires, John (3 May 2017).
1369:(2003, direct to video) and
1343:For example, the 1956 novel
1247:Journal of Business Research
1207:As the cost of developing a
1113:'s use of his characters in
1039:The Afterlife of a Character
892:
351:Tremors 4: The Legend Begins
267:as an earlier work, usually
7:
2715:Fuller, John (5 May 1985).
2518:Retrieved on June 19, 2008.
1668:
1610:was working on a sequel to
1443:Old Friends and New Fancies
1425:
496:retconning preceding events
67:the claims made and adding
10:
2924:
2893:Film and video terminology
2815:Edinburgh University Press
2786:Henderson, Stuart (2017).
2366:The Modern Language Review
1429:
1410:The Wonderful Wizard of Oz
1382:
1256:
1222:
1154:Adventures of David Simple
1061:The Wonderful Wizard of Oz
1032:
29:
2157:: CS1 maint: unfit URL (
2087:: CS1 maint: unfit URL (
1839:Silverblatt, Art (2007).
290:of the original. Various
2547:10.1177/1024529418797302
2534:Competition & Change
2177:; Sunday, March 27, 2011
2174:The Storyteller's Scroll
1884:Wolf, Mark J.P. (2017).
1416:its 1939 film adaptation
1351:1961 animated adaptation
1055:The Marvelous Land of Oz
981:Lake Placid vs. Anaconda
853:(2001), contemporary to
821:Under a Calculating Star
580:The Matrix Resurrections
2368:68.4 (173). JSTOR. Web.
2171:"What is a Paraquel?",
1644:Posledniy kol'tsenosets
1532:(1975) which describes
1487:Back to Treasure Island
1395:New Adventures of Alice
1355:1996 live-action remake
768:franchise, making them
717:Space Jam: A New Legacy
669:Species - The Awakening
538:Ghostbusters: Afterlife
403:Furiosa: A Mad Max Saga
320:The Empire Strikes Back
32:Sequel (disambiguation)
2908:Television terminology
2049:The Hollywood Reporter
2024:The Hollywood Reporter
1639:
1492:Robert Louis Stevenson
1399:
1253:Sequels in other media
1065:
875:the original 1994 film
613:(1987) in relation to
592:Jurassic World Trilogy
249:continues the story of
216:
2792:Bloomsbury Publishing
1814:Call It Like I See It
1810:"Creative Bankruptcy"
1661:The Lord of the Rings
1640:Последний кольценосец
1563:The War of the Worlds
1430:Further information:
1392:
1383:Further information:
1360:The Starlight Barking
1052:
840:The Lord of the Rings
815:(1973; also known as
770:non-franchise sequels
544:Terminator: Dark Fate
210:, official sequel to
204:
2903:Continuity (fiction)
2640:"Piratical prequels"
2210:. September 12, 2022
1546:Professor Challenger
1510:novel and sequel to
1295:improve this section
1131:'s parody, entitled
1097:Arthurian literature
1045:Sequels of the novel
574:Mary Poppins Returns
450:, some films of the
207:The Return of Tarzan
123:improve this article
30:For other uses, see
2406:"The cost of games"
1979:. 12 December 2017.
1965:. 30 December 2016.
1820:on December 3, 2013
1748:Spiritual successor
1686:Crossover (fiction)
1652:alternative account
1631:The Last Ringbearer
1601:Alice in Wonderland
1213:video game industry
1025:Terminator: Genisys
830:The Last Ringbearer
817:Nail Down the Stars
311:. Examples include
2721:The New York Times
2686:. 8 December 2015.
2496:The New York Times
2470:The New York Times
1910:William D. Crump,
1789:The New York Times
1559:Christopher Priest
1542:Arthur Conan Doyle
1524:Manly Wade Wellman
1469:A. D. Howden Smith
1453:Austen fan fiction
1432:Continuation novel
1400:
1379:Unofficial sequels
1187:. You can help by
1066:
963:Alien vs. Predator
860:Gone With the Wind
850:The Wind Done Gone
693:Mad Max: Fury Road
639:A Shot in the Dark
453:Fast & Furious
409:Mad Max: Fury Road
382:The Little Mermaid
265:fictional universe
217:
213:Tarzan of the Apes
52:possibly contains
2847:978-1-4384-3031-7
2824:978-0-7486-8947-7
2801:978-1-84457-843-6
2377:Brewer, David A.
2282:Brewer, David A.
2115:978-0-9642795-1-3
2055:on August 8, 2011
1997:Bloody Disgusting
1897:978-1-317-26828-4
1554:The Space Machine
1331:
1330:
1323:
1205:
1204:
1119:Samuel Richardson
908:The Scorpion King
855:Margaret Mitchell
751:The Suicide Squad
705:Wonder Woman 1984
632:standalone sequel
556:Top Gun: Maverick
525:Blade Runner 2049
336:spin-off prequels
199:
198:
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16:(Redirected from
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2653:"Heidi Grows Up"
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2201:"Morressy, John"
2197:
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2015:
2009:
2008:
2006:
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1987:
1981:
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1951:. 4 August 2016.
1945:
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1935:Mark J.P. Wolf;
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1816:. Archived from
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1799:
1798:
1796:
1795:
1780:
1743:Spin-off (media)
1728:Reboot (fiction)
1723:List of prequels
1577:wrote the novel
1568:The Time Machine
1460:Porto Bello Gold
1398:, 1917, John Rae
1353:and that film's
1326:
1319:
1315:
1312:
1306:
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1219:Media franchises
1200:
1197:
1179:
1172:
1156:and its sequels
969:Freddy vs. Jason
926:Hobbs & Shaw
905:the other work.
871:Timon and Pumbaa
866:The Lion King 1½
797:
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765:spiritual sequel
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589:(2008), and the
501:Superman Returns
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2780:Further reading
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1595:, a sequel to
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1514:'s 1881 novel
1499:Heidi Grows Up
1495:
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1436:Parallel novel
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975:Boa vs. Python
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711:Spirit Untamed
605:Bruce Campbell
533:sequel trilogy
390:Little Mermaid
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2747:. Retrieved
2743:The Guardian
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2684:The Guardian
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116:verification
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1691:Film series
1681:Cliffhanger
1676:Book series
1650:. It is an
1449:Jane Austen
1168:Video games
1102:Don Quixote
610:Evil Dead 2
479:Black Widow
476:(2005) and
438:(2016) and
317:(1999) and
314:Toy Story 2
2882:Categories
2838:SUNY Press
2749:2010-03-30
2588:2022-07-18
2315:2014-11-14
2270:2023-03-11
2029:2023-03-19
1847:. p.
1794:2010-08-09
1770:References
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1591:(1984) by
1463:(1924), a
1420:copyrights
1257:See also:
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754:(2021) to
737:plot reset
444:(2018) of
292:neologisms
288:chronology
245:video game
237:television
225:literature
149:newspapers
61:improve it
2564:158819120
2556:1024-5294
2265:236796220
1872:original.
1758:Tetralogy
1713:Pentalogy
1613:Jane Eyre
1282:does not
1107:Cervantes
1089:copyright
1007:Star Trek
958:crossover
944:Torchwood
932:Lightyear
893:Relatives
847:'s novel
827:'s novel
813:Stardrift
743:resetquel
531:Star Wars
519:Cobra Kai
507:Halloween
466:intraquel
447:Star Wars
435:Rogue One
427:interquel
412:(2015).
384:TV series
257:narrative
65:verifying
2745:. London
2583:Deadline
2501:June 20,
2475:June 20,
2436:BBC News
2412:June 20,
2153:cite web
2083:cite web
2059:July 29,
1824:June 23,
1669:See also
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1480:Jacobite
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1375:(2000).
1363:(1967),
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795:paraquel
789:parallel
784:(2009).
760:(2016).
729:Twisters
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702:(2015),
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323:(1980).
259:work of
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2898:Sequels
2121:30 July
1763:Trilogy
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1557:(1976)
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1465:prequel
1303:removed
1288:sources
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1074:romance
1070:novella
1033:History
1013:Børning
950:CSI: NY
920:Minions
886:Saw III
819:), and
473:Bambi 2
419:midquel
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328:prequel
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163:scholar
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