1086:
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.
1138:, 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.
1243:. 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.
1384:
1078:– 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.
1171:
1044:
1267:
105:
202:
43:
1209:. 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.
761:
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
1077:
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
898:
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
1022:
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
1141:
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
1085:
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
487:
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
741:
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;
286:
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
1327:
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.
1231:. 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.
985:
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.
425:
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
1865:
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
1115:, 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
1093:), 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
2190:
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
1471:
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
1396:
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
613:. 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
1089:
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
2266:
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.).
817:(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
2290:
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.
1334:
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
1111:, 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
1514:, 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.
630:
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.
579:
1239:
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
674:
2068:
1701:
1359:
343:
1331:
A sequel to a popular but discontinued television series may be produced in another medium, thereby bypassing whatever factors led to the series' cancellation.
2649:
1223:
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
668:
1256:
1252:
1778:
1610:
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.
692:
396:
375:
2038:
1081:
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
2815:
2792:
2769:
2097:
1985:
1889:
1522:
656:
2862:
2635:
2548:
2175:
1690:
274:
In many cases, the sequel continues elements of the original story, often with the same characters and settings. A sequel can lead to a
644:
2277:
2224:
1850:
1314:
716:
188:
86:
1581:
1104:
53:
680:
1970:
1942:
2877:
2708:
766:. Spiritual sequels can sometimes be repurposed from material originally intended to be direct sequels. An example of this is
1344:
1339:
1292:
931:
632:
387:
380:
126:
1956:
1035:, 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
2072:
278:, in which key elements appear repeatedly. The difference between more than one sequel and a series is somewhat arbitrary.
2872:
2013:
1696:
1552:
1401:, and there is no legal obstacle to producing sequels. An example would be books and films serving as sequels to the book
2435:
1409:
428:
350:
2360:
Michie, Allen. "Far From Simple: Sarah
Fielding's Familiar Letters and the Limits of the Eighteenth-Century Sequel" in
2120:
1436:
1117:
1067:
1277:
1121:
was repeatedly incorporated into unauthorized sequels featuring particularly lewd plots. The most famous of these is
169:
68:
1803:
2784:
2461:
2308:
Schellenberg, Betty A. "'To Renew Their Former
Acquaintance': Print, Gender, and Some Eighteenth-Century Sequels."
1403:
1348:
1054:
853:
141:
2143:
1906:
How the Movies Saved
Christmas: 228 Rescues from Clausnappers, Sleigh Crashes, Lost Presents and Holiday Disasters
1296:
1281:
115:
64:
2734:
1202:
994:
956:
750:
2857:
2420:
2388:
The trajectory line for triple-A games ... goes up tenfold every 10 years and has since at least 1995 or so ...
1048:
974:
744:
573:
555:
523:
2591:
797:
is a story that runs at the same point in time as the original story. For instance, three different novels by
417:
is a term used to refer to works which take place between events. Types include interquels and intraquels. An
148:
2686:
1480:
1446:
1441:(1913) is a novel by Sybil G. Brinton that is generally acknowledged to be the first sequel to the works of
1388:
1288:
1158:
are extremely innovative and cover almost the entire range of popular narrative styles of the 18th century.
710:
662:
531:
472:
434:
402:
319:
122:
31:
1542:
stories. Among many changes the
Martians are changed into simple vampires, who suck and ingest human blood.
1485:
489:
2046:
2761:
1654:
1353:
1000:
833:
537:
500:
155:
1534:" as a prequel (with Holmes being the man who bought the egg at the end) and includes a crossover with
1383:
1539:
1090:
868:
567:
506:
248:
206:
2609:
2500:"Managing uncertainty in creative industries: Film sequels and Hollywood's profitability, 1988–2015"
2572:
1741:
1679:
1624:
1594:
1206:
1100:
1018:
1012:
951:
859:
823:
561:
355:
137:
2529:
2230:
1573:
1535:
1517:
1501:
1462:
1425:
891:
Alongside sequels, there are also other types of continuation or inspiration of a previous work.
843:
686:
615:
264:
212:
464:, on the other hand, is a work which focuses on events within a previous work. Examples include
2216:
954:
is a work where two previous works from different franchises are meeting in the same universe.
2811:
2788:
2765:
2521:
2273:
2220:
2204:
2093:
1990:
1885:
1846:
1842:
1547:
1112:
901:
848:
698:
549:
518:
446:
252:
2087:
1879:
1530:'s adventures during the Martian occupation of London. This version uses Wells' short story "
837:(1955) from the viewpoint of benevolent Mordorians combatting the malevolent West. Likewise,
2867:
2511:
2212:
1736:
1721:
1716:
1629:
1561:
1453:
982:
962:
925:
895:
864:
774:
768:
758:
494:
363:
857:(1936), tells the life story of a mulatto woman born enslaved on the O'Hara plantation and
1746:
1731:
1531:
1527:
1467:
1224:
1218:
722:
638:
2312:. Ed. Paul Budra and Betty A. Schellenberg. New York: University of Toronto, 1998. Print.
1568:
919:
2650:"War of the Worlds gets a sequel 119 years on – but what about all the unofficial ones?"
2375:
1023:
revel in the aspects of the original franchise that made it notable in the first place.
2704:
2421:"Video Game Development Costs Continue to Rise in Face of Nearly 12K Layoffs Since '08"
1649:
1645:
1492:
1429:
1365:
1143:
1122:
968:
913:
828:
704:
598:
1170:
1136:
To Renew Their Former
Acquaintance: Print, Gender, and Some Eighteenth Century Sequels
2851:
2549:"'Mr. Holmes' Lawsuit: Arthur Conan Doyle Estate Sues Bill Condon & Distributors"
2533:
2234:
1617:
1601:
1590:
1586:
1505:
1398:
1228:
1074:
988:
907:
838:
798:
609:
585:
268:
1043:
162:
2014:"'Batman v. Superman,' 'Star Wars' and Hollywood's New Obsession With the "Requel""
1838:
1641:
1062:
The origin of the sequel as it is conceived in the 21st century developed from the
818:
650:
543:
369:
2401:
2170:
1070:
traditions in a slow process that culminated towards the end of the 17th century.
2267:
1099:(an early novel, perhaps better classified as a satirical romance), for example,
2592:"In the beginning, there was fan fiction: from the four gospels to Fifty Shades"
1684:
1674:
1669:
1442:
1266:
1095:
603:
313:
275:
104:
201:
2807:
2667:
1473:
1006:
287:
244:
236:
224:
2525:
2516:
2499:
1986:"Bruce Campbell Finally Settled the 'Evil Dead 2' "Sequel or Remake?" Debate"
2485:
1751:
1706:
1606:
1413:
1082:
937:
512:
440:
291:
256:
2839:
1484:(1935) is a sequel by H. A. Calahan, the introduction of which argues that
589:
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
1811:
1378:
2205:"Reboot, Requel, Legacyquel: Jurassic World and the Nostalgia Franchise"
1756:
1711:
1458:
1127:
1063:
943:
879:
466:
327:
260:
232:
17:
2835:: "The Midas Formula (How to create a billion-dollar movie franchise)"
2486:
Newswise: Researchers
Investigate Box Office Impact Vs. Original Movie
27:
Part of a linear narrative that continues the story of a previous work
1726:
1205:
video game has risen, sequels have become increasingly common in the
873:
2364:, Edited by Bourdeau and Kraft. Cranbury, NJ: Rosemont, 2007. Print.
71:. Statements consisting only of original research should be removed.
2831:
1559:(due to time travel elements), which also integrates the events of
2498:
Pokorny, Michael; Miskell, Peter; Sedgwick, John (February 2019).
1510:
1412:). In other cases, the original creator or their heirs may assert
1382:
1042:
452:
240:
200:
2069:"Exclusive: And The Title Of PIRATES OF THE CARIBBEAN 5 Will Be…"
1152:
Familiar
Letters between the Principal Characters in David Simple
1109:
Second Volume of the
Ingenious Gentleman Don Quixote of La Mancha
1058:, was an official sequel novel written to satisfy popular demand.
2158:
Building Imaginary Worlds: The Theory and History of Subcreation
1351:
each have a sequel unrelated to the other sequels: respectively
228:
877:(2007), where the events are revealed to be overlapping within
1260:
1165:
98:
36:
2304:
2302:
2300:
2298:
1919:
The Enchanted Screen: The Unknown History of Fairy-Tale Films
1227:. Generally, a whole series of sequels is made, along with
338:, while prequels that are part of a main series are called
2636:"Heidi has a secret past: she sneaked in over the border"
2351:. Philadelphia: University of Pennsylvania, 2005. Print.
2269:
On Second Thought: Updating the Eighteenth-century Text
1182:
60:
2323:
Part Two: Reflections on the Sequel (Theory / Culture)
2310:
Part Two: Reflections on the Sequel (Theory / Culture)
2256:
Philadelphia: University of Pennsylvania, 2005. Print.
1577:
that was intended as a direct sequel to Orwell's work.
379:(2008) occurring chronologically before the events of
2321:
Budra, Paul, and Betty Schellenberg. "Introduction."
597:, meaning reboot sequel, a term originally coined by
373:
but also having some scenes after and during it, and
2804:
Second Takes: Critical Approaches to the Film Sequel
1957:"Do legacy sequels fail if they pander to the fans?"
2758:
The Hollywood Sequel: History & Form, 1911-2010
2709:"Theatre: Nights at the Circus | The Observer"
1943:"6 Films That Are Waiting for Their Legacy Sequels"
129:. Unsourced material may be challenged and removed.
2802:Jess-Cooke, Carolyn; Verevis, Constantine (2012).
1439:: An Imaginary Sequel to the Novels of Jane Austen
580:Indiana Jones and the Kingdom of the Crystal Skull
2211:, Edinburgh University Press, pp. 173–188,
871:. Major film examples of true parallels include
675:Pirates of the Caribbean: Dead Men Tell No Tales
255:, some earlier work. In the common context of a
2325:. New York: University of Toronto, 1998. Print.
2121:"Five Films Show How 2008 Redefined the Movies"
1073:The substantial shift toward a rapidly growing
2687:"LEWIS CARROLL IS STILL DEAD (Published 1985)"
1971:"Creed 2 Loses Sylvester Stallone as Director"
1702:List of film sequels by box-office performance
2334:Riley, E.C. "Three Versions of Don Quixote".
1857:Prequels focus on the action that took place
1648:of, and an informal sequel to, the events of
1640:) (1999) is a fantasy book by Russian author
1416:, and challenge the creators of the sequels.
1408:which is in the public domain (as opposed to
282:production of sequels financially appealing.
8:
2573:"Austen mashups are nothing new to Janeites"
2272:. University of Delaware Press. p. 27.
1863:Star Wars: Episode III – Revenge of the Sith
1488:wanted to write a continuation of the story.
947:are examples of spin-off television series.
863:(2004), featuring the origins of characters
1931:The Routledge Companion to Imaginary Worlds
1881:The Routledge Companion to Imaginary Worlds
1360:101 Dalmatians II: Patch's London Adventure
1295:. Unsourced material may be challenged and
726:(2024) are examples of standalone sequels.
669:Pirates of the Caribbean: On Stranger Tides
263:, a sequel portrays events set in the same
2039:"The Making of 'Pirates of the Caribbean'"
1476:antecedents not mentioned in the original.
1257:List of films based on television programs
1253:List of television programs based on films
2515:
1861:the original narrative. For instance, in
1315:Learn how and when to remove this message
189:Learn how and when to remove this message
87:Learn how and when to remove this message
2217:10.3366/edinburgh/9781474451369.003.0012
1142:"protect their patrimony". For example,
693:The SpongeBob Movie: Sponge Out of Water
397:The Little Mermaid II: Return to the Sea
2086:Michael Andre-Driussi (1 August 2008).
1835:Genre Studies in Mass Media: A Handbook
1777:Fabrikant, Geraldine (March 12, 1991).
1769:
367:(2015-2022) taking place mainly before
2254:The Afterlife of Character, 1726–1825.
1884:. Taylor & Francis. pp. 82–.
1779:"Sequels of Hit Films Now Often Loser"
1555:presents both a sequel and prequel to
929:are examples of spin-off movies while
2436:"In Video Games, Sequels Are Winners"
2349:The Afterlife of Character, 1726–1825
1614:Mrs. Rochester: A Sequel to Jane Eyre
657:The Fast and the Furious: Tokyo Drift
376:The Little Mermaid: Ariel's Beginning
7:
1293:adding citations to reliable sources
127:adding citations to reliable sources
2843:: Film franchise earning comparison
2402:"Cost headache for game developers"
2400:Takatsuki, Yo (December 27, 2007).
2176:The Encyclopedia of Science Fiction
1691:Klinger v. Conan Doyle Estate, Ltd.
294:have been coined to describe them.
271:following the events of that work.
2037:Galloway, Stephen (May 10, 2011).
1523:Sherlock Holmes' War of the Worlds
978:are examples of a crossover film.
645:Halloween III: Season of the Witch
25:
2733:Smith, Kevin (23 February 2011).
2590:Morrison, Ewan (13 August 2012).
2434:Taub, Eric (September 20, 2004).
2374:Koster, Raph (January 23, 2018).
2123:. Cinematic Slant. 14 August 2018
2071:. August 22, 2013. Archived from
2012:McClintock, Pamela (2016-03-30).
1498:Heidi Grows Up: A Sequel to Heidi
772:, a spiritual sequel to the film
717:Glass Onion: A Knives Out Mystery
2460:Richtel, Matt (August 8, 2005).
2419:Mattas, Jeff (12 January 2010).
1265:
1169:
867:occurring simultaneously within
681:Ghost Rider: Spirit of Vengeance
103:
41:
2739:Scholarly Communications @ Duke
2462:"Relying on Video Game Sequels"
1520:and his son Wade Wellman wrote
1445:and as such the first piece of
827:(1999) retelling the events of
342:. Examples of prequels include
114:needs additional citations for
2625:- foreword, by Charles Tritten
2547:Patten, Dominic (2015-05-22).
2203:Loock, Kathleen (2020-09-15),
2092:. Sirius Fiction. p. 21.
2089:Lexicon Urthus, Second Edition
1802:Rosen, David (June 15, 2011).
1582:Alice Through the Needle's Eye
1340:The Hundred and One Dalmatians
1105:Alonso Fernández de Avellaneda
932:Star Trek: The Next Generation
1:
1697:List of video game franchises
1156:David Simple, Volume the Last
345:Star Wars: The Phantom Menace
2779:Jess-Cooke, Carolyn (2012).
2735:"One ring to rule them all?"
1984:Squires, John (3 May 2017).
1363:(2003, direct to video) and
1337:For example, the 1956 novel
1241:Journal of Business Research
1201:As the cost of developing a
1107:'s use of his characters in
1033:The Afterlife of a Character
351:Tremors 4: The Legend Begins
267:as an earlier work, usually
2685:Fuller, John (5 May 1985).
2488:Retrieved on June 19, 2008.
1604:was working on a sequel to
1437:Old Friends and New Fancies
490:retconning preceding events
67:the claims made and adding
2894:
2863:Film and video terminology
2785:Edinburgh University Press
2756:Henderson, Stuart (2017).
2336:The Modern Language Review
1423:
1404:The Wonderful Wizard of Oz
1376:
1250:
1216:
1148:Adventures of David Simple
1055:The Wonderful Wizard of Oz
29:
1833:Silverblatt, Art (2007).
290:of the original. Various
2517:10.1177/1024529418797302
2504:Competition & Change
2147:; Sunday, March 27, 2011
2144:The Storyteller's Scroll
1878:Wolf, Mark J.P. (2017).
1410:its 1939 film adaptation
1345:1961 animated adaptation
1049:The Marvelous Land of Oz
975:Lake Placid vs. Anaconda
847:(2001), contemporary to
815:Under a Calculating Star
574:The Matrix Resurrections
2338:68.4 (173). JSTOR. Web.
2141:"What is a Paraquel?",
1638:Posledniy kol'tsenosets
1526:(1975) which describes
1481:Back to Treasure Island
1389:New Adventures of Alice
1349:1996 live-action remake
762:franchise, making them
711:Space Jam: A New Legacy
663:Species - The Awakening
532:Ghostbusters: Afterlife
403:Furiosa: A Mad Max Saga
320:The Empire Strikes Back
32:Sequel (disambiguation)
2878:Television terminology
2043:The Hollywood Reporter
2018:The Hollywood Reporter
1633:
1486:Robert Louis Stevenson
1393:
1247:Sequels in other media
1059:
869:the original 1994 film
586:Jurassic World Trilogy
249:continues the story of
216:
2762:Bloomsbury Publishing
1808:Call It Like I See It
1804:"Creative Bankruptcy"
1655:The Lord of the Rings
1634:Последний кольценосец
1557:The War of the Worlds
1424:Further information:
1386:
1377:Further information:
1354:The Starlight Barking
1046:
834:The Lord of the Rings
809:(1973; also known as
764:non-franchise sequels
538:Terminator: Dark Fate
210:, official sequel to
204:
2873:Continuity (fiction)
2610:"Piratical prequels"
2180:. September 12, 2022
1540:Professor Challenger
1504:novel and sequel to
1289:improve this section
1125:'s parody, entitled
1091:Arthurian literature
1039:Sequels of the novel
568:Mary Poppins Returns
444:, some films of the
207:The Return of Tarzan
123:improve this article
30:For other uses, see
2376:"The cost of games"
2075:on August 24, 2013.
1973:. 12 December 2017.
1959:. 30 December 2016.
1814:on December 3, 2013
1742:Spiritual successor
1680:Crossover (fiction)
1646:alternative account
1625:The Last Ringbearer
1595:Alice in Wonderland
1207:video game industry
1019:Terminator: Genisys
824:The Last Ringbearer
811:Nail Down the Stars
311:. Examples include
2691:The New York Times
2656:. 8 December 2015.
2466:The New York Times
2440:The New York Times
1904:William D. Crump,
1783:The New York Times
1553:Christopher Priest
1536:Arthur Conan Doyle
1518:Manly Wade Wellman
1463:A. D. Howden Smith
1447:Austen fan fiction
1426:Continuation novel
1394:
1373:Unofficial sequels
1181:. You can help by
1060:
957:Alien vs. Predator
854:Gone With the Wind
844:The Wind Done Gone
687:Mad Max: Fury Road
633:A Shot in the Dark
447:Fast & Furious
382:The Little Mermaid
265:fictional universe
217:
213:Tarzan of the Apes
52:possibly contains
2817:978-1-4384-3031-7
2794:978-0-7486-8947-7
2771:978-1-84457-843-6
2347:Brewer, David A.
2252:Brewer, David A.
2099:978-0-9642795-1-3
2049:on August 8, 2011
1991:Bloody Disgusting
1891:978-1-317-26828-4
1548:The Space Machine
1325:
1324:
1317:
1199:
1198:
1113:Samuel Richardson
902:The Scorpion King
849:Margaret Mitchell
745:The Suicide Squad
699:Wonder Woman 1984
626:standalone sequel
550:Top Gun: Maverick
519:Blade Runner 2049
336:spin-off prequels
199:
198:
191:
173:
97:
96:
89:
54:original research
16:(Redirected from
2885:
2821:
2798:
2775:
2743:
2742:
2730:
2724:
2723:
2721:
2720:
2701:
2695:
2694:
2682:
2676:
2675:
2664:
2658:
2657:
2646:
2640:
2639:
2632:
2626:
2623:"Heidi Grows Up"
2620:
2614:
2613:
2606:
2600:
2599:
2587:
2581:
2580:
2569:
2563:
2562:
2560:
2559:
2544:
2538:
2537:
2519:
2495:
2489:
2483:
2477:
2476:
2474:
2472:
2457:
2451:
2450:
2448:
2446:
2431:
2425:
2424:
2416:
2410:
2409:
2397:
2391:
2390:
2385:
2383:
2371:
2365:
2358:
2352:
2345:
2339:
2332:
2326:
2319:
2313:
2306:
2293:
2292:
2287:
2286:
2263:
2257:
2250:
2244:
2243:
2242:
2241:
2200:
2194:
2193:
2187:
2185:
2171:"Morressy, John"
2167:
2161:
2156:Mark J.P. Wolf,
2154:
2148:
2139:
2133:
2132:
2130:
2128:
2117:
2111:
2110:
2108:
2106:
2083:
2077:
2076:
2065:
2059:
2058:
2056:
2054:
2045:. Archived from
2034:
2028:
2027:
2025:
2024:
2009:
2003:
2002:
2000:
1998:
1981:
1975:
1974:
1967:
1961:
1960:
1953:
1947:
1946:
1945:. 4 August 2016.
1939:
1933:
1929:Mark J.P. Wolf;
1927:
1921:
1915:
1909:
1902:
1896:
1895:
1875:
1869:
1868:
1830:
1824:
1823:
1821:
1819:
1810:. Archived from
1799:
1793:
1792:
1790:
1789:
1774:
1737:Spin-off (media)
1722:Reboot (fiction)
1717:List of prequels
1571:wrote the novel
1562:The Time Machine
1454:Porto Bello Gold
1392:, 1917, John Rae
1347:and that film's
1320:
1313:
1309:
1306:
1300:
1269:
1261:
1213:Media franchises
1194:
1191:
1173:
1166:
1150:and its sequels
963:Freddy vs. Jason
920:Hobbs & Shaw
899:the other work.
865:Timon and Pumbaa
860:The Lion King 1½
791:
790:
759:spiritual sequel
739:
738:
628:
627:
595:
594:
495:Superman Returns
485:
484:
462:
461:
423:
422:
415:
414:
364:Better Call Saul
309:
308:
194:
187:
183:
180:
174:
172:
131:
107:
99:
92:
85:
81:
78:
72:
69:inline citations
45:
44:
37:
21:
2893:
2892:
2888:
2887:
2886:
2884:
2883:
2882:
2858:Narrative forms
2848:
2847:
2841:Box Office Mojo
2828:
2818:
2801:
2795:
2778:
2772:
2755:
2752:
2750:Further reading
2747:
2746:
2732:
2731:
2727:
2718:
2716:
2703:
2702:
2698:
2684:
2683:
2679:
2674:. 16 July 2009.
2666:
2665:
2661:
2648:
2647:
2643:
2634:
2633:
2629:
2621:
2617:
2608:
2607:
2603:
2589:
2588:
2584:
2579:. 23 July 2012.
2571:
2570:
2566:
2557:
2555:
2546:
2545:
2541:
2497:
2496:
2492:
2484:
2480:
2470:
2468:
2459:
2458:
2454:
2444:
2442:
2433:
2432:
2428:
2418:
2417:
2413:
2399:
2398:
2394:
2381:
2379:
2373:
2372:
2368:
2359:
2355:
2346:
2342:
2333:
2329:
2320:
2316:
2307:
2296:
2284:
2282:
2280:
2265:
2264:
2260:
2251:
2247:
2239:
2237:
2227:
2202:
2201:
2197:
2183:
2181:
2169:
2168:
2164:
2155:
2151:
2140:
2136:
2126:
2124:
2119:
2118:
2114:
2104:
2102:
2100:
2085:
2084:
2080:
2067:
2066:
2062:
2052:
2050:
2036:
2035:
2031:
2022:
2020:
2011:
2010:
2006:
1996:
1994:
1983:
1982:
1978:
1969:
1968:
1964:
1955:
1954:
1950:
1941:
1940:
1936:
1928:
1924:
1916:
1912:
1903:
1899:
1892:
1877:
1876:
1872:
1853:
1832:
1831:
1827:
1817:
1815:
1801:
1800:
1796:
1787:
1785:
1776:
1775:
1771:
1766:
1761:
1747:Standalone film
1732:Shared universe
1665:
1532:The Crystal Egg
1528:Sherlock Holmes
1468:Treasure Island
1432:
1422:
1381:
1375:
1321:
1310:
1304:
1301:
1286:
1270:
1259:
1249:
1237:
1225:media franchise
1221:
1219:Media franchise
1215:
1195:
1189:
1186:
1179:needs expansion
1164:
1103:disapproved of
1041:
1029:
889:
788:
787:
736:
735:
639:Big Top Pee-wee
625:
624:
607:in relation to
592:
591:
482:
481:
459:
458:
450:franchise, and
420:
419:
412:
411:
306:
305:
300:
298:Classifications
269:chronologically
195:
184:
178:
175:
132:
130:
120:
108:
93:
82:
76:
73:
58:
46:
42:
35:
28:
23:
22:
15:
12:
11:
5:
2891:
2889:
2881:
2880:
2875:
2870:
2865:
2860:
2850:
2849:
2846:
2845:
2837:
2827:
2826:External links
2824:
2823:
2822:
2816:
2799:
2793:
2776:
2770:
2751:
2748:
2745:
2744:
2725:
2707:(2006-01-29).
2705:Susannah Clapp
2696:
2677:
2659:
2641:
2627:
2615:
2601:
2582:
2564:
2539:
2490:
2478:
2452:
2426:
2411:
2392:
2366:
2362:Second Thought
2353:
2340:
2327:
2314:
2294:
2278:
2258:
2245:
2225:
2195:
2162:
2149:
2134:
2112:
2098:
2078:
2060:
2029:
2004:
1976:
1962:
1948:
1934:
1922:
1910:
1897:
1890:
1870:
1851:
1825:
1794:
1768:
1767:
1765:
1762:
1760:
1759:
1754:
1749:
1744:
1739:
1734:
1729:
1724:
1719:
1714:
1709:
1704:
1699:
1694:
1687:
1682:
1677:
1672:
1666:
1664:
1661:
1660:
1659:
1650:J.R.R. Tolkien
1621:
1611:
1598:
1589:, a sequel to
1578:
1566:
1543:
1515:
1508:'s 1881 novel
1493:Heidi Grows Up
1489:
1477:
1450:
1430:Parallel novel
1421:
1418:
1374:
1371:
1366:102 Dalmatians
1323:
1322:
1273:
1271:
1264:
1248:
1245:
1236:
1233:
1217:Main article:
1214:
1211:
1197:
1196:
1176:
1174:
1163:
1160:
1144:Sarah Fielding
1123:Henry Fielding
1040:
1037:
1028:
1025:
969:Boa vs. Python
888:
885:
829:J.R.R. Tolkien
705:Spirit Untamed
599:Bruce Campbell
527:sequel trilogy
390:Little Mermaid
299:
296:
197:
196:
111:
109:
102:
95:
94:
49:
47:
40:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2890:
2879:
2876:
2874:
2871:
2869:
2866:
2864:
2861:
2859:
2856:
2855:
2853:
2844:
2842:
2838:
2836:
2834:
2830:
2829:
2825:
2819:
2813:
2809:
2805:
2800:
2796:
2790:
2786:
2782:
2777:
2773:
2767:
2763:
2759:
2754:
2753:
2749:
2740:
2736:
2729:
2726:
2714:
2710:
2706:
2700:
2697:
2692:
2688:
2681:
2678:
2673:
2672:The A.V. Club
2669:
2663:
2660:
2655:
2651:
2645:
2642:
2637:
2631:
2628:
2624:
2619:
2616:
2611:
2605:
2602:
2597:
2593:
2586:
2583:
2578:
2577:The Daily Dot
2574:
2568:
2565:
2554:
2550:
2543:
2540:
2535:
2531:
2527:
2523:
2518:
2513:
2509:
2505:
2501:
2494:
2491:
2487:
2482:
2479:
2467:
2463:
2456:
2453:
2441:
2437:
2430:
2427:
2422:
2415:
2412:
2407:
2403:
2396:
2393:
2389:
2378:. VentureBeat
2377:
2370:
2367:
2363:
2357:
2354:
2350:
2344:
2341:
2337:
2331:
2328:
2324:
2318:
2315:
2311:
2305:
2303:
2301:
2299:
2295:
2291:
2281:
2279:9780874139754
2275:
2271:
2270:
2262:
2259:
2255:
2249:
2246:
2236:
2232:
2228:
2226:9781474451369
2222:
2218:
2214:
2210:
2206:
2199:
2196:
2192:
2179:
2177:
2172:
2166:
2163:
2159:
2153:
2150:
2146:
2145:
2138:
2135:
2127:September 11,
2122:
2116:
2113:
2101:
2095:
2091:
2090:
2082:
2079:
2074:
2070:
2064:
2061:
2048:
2044:
2040:
2033:
2030:
2019:
2015:
2008:
2005:
1993:
1992:
1987:
1980:
1977:
1972:
1966:
1963:
1958:
1952:
1949:
1944:
1938:
1935:
1932:
1926:
1923:
1920:
1914:
1911:
1907:
1901:
1898:
1893:
1887:
1883:
1882:
1874:
1871:
1867:
1864:
1860:
1854:
1852:9780765616708
1848:
1844:
1840:
1836:
1829:
1826:
1813:
1809:
1805:
1798:
1795:
1784:
1780:
1773:
1770:
1763:
1758:
1755:
1753:
1750:
1748:
1745:
1743:
1740:
1738:
1735:
1733:
1730:
1728:
1725:
1723:
1720:
1718:
1715:
1713:
1710:
1708:
1705:
1703:
1700:
1698:
1695:
1693:
1692:
1688:
1686:
1683:
1681:
1678:
1676:
1673:
1671:
1668:
1667:
1662:
1657:
1656:
1651:
1647:
1643:
1639:
1635:
1631:
1627:
1626:
1622:
1619:
1618:Hilary Bailey
1615:
1612:
1609:
1608:
1603:
1602:Angela Carter
1600:The novelist
1599:
1596:
1592:
1591:Lewis Carroll
1588:
1587:Gilbert Adair
1584:
1583:
1579:
1576:
1575:
1570:
1567:
1564:
1563:
1558:
1554:
1550:
1549:
1544:
1541:
1537:
1533:
1529:
1525:
1524:
1519:
1516:
1513:
1512:
1507:
1506:Johanna Spyri
1503:
1499:
1495:
1494:
1490:
1487:
1483:
1482:
1478:
1475:
1470:
1469:
1464:
1460:
1456:
1455:
1451:
1448:
1444:
1440:
1438:
1434:
1433:
1431:
1427:
1419:
1417:
1415:
1411:
1407:
1405:
1400:
1399:public domain
1391:
1390:
1385:
1380:
1372:
1370:
1368:
1367:
1362:
1361:
1356:
1355:
1350:
1346:
1342:
1341:
1335:
1332:
1329:
1319:
1316:
1308:
1298:
1294:
1290:
1284:
1283:
1279:
1274:This section
1272:
1268:
1263:
1262:
1258:
1254:
1246:
1244:
1242:
1234:
1232:
1230:
1229:merchandising
1226:
1220:
1212:
1210:
1208:
1204:
1193:
1184:
1180:
1177:This section
1175:
1172:
1168:
1167:
1161:
1159:
1157:
1153:
1149:
1145:
1139:
1137:
1132:
1130:
1129:
1124:
1120:
1119:
1114:
1110:
1106:
1102:
1098:
1097:
1092:
1087:
1084:
1079:
1076:
1075:print culture
1071:
1069:
1065:
1057:
1056:
1051:
1050:
1045:
1038:
1036:
1034:
1026:
1024:
1021:
1020:
1015:
1014:
1009:
1008:
1003:
1002:
997:
996:
995:Casino Royale
991:
990:
989:Batman Begins
984:
979:
977:
976:
971:
970:
965:
964:
959:
958:
953:
948:
946:
945:
940:
939:
934:
933:
928:
927:
922:
921:
916:
915:
910:
909:
904:
903:
897:
892:
886:
884:
882:
881:
876:
875:
870:
866:
862:
861:
856:
855:
850:
846:
845:
840:
839:Alice Randall
836:
835:
830:
826:
825:
820:
816:
812:
808:
804:
800:
799:John Morressy
796:
792:
784:
779:
777:
776:
771:
770:
765:
760:
755:
753:
752:
751:Suicide Squad
747:
746:
740:
732:
727:
725:
724:
719:
718:
713:
712:
707:
706:
701:
700:
695:
694:
689:
688:
683:
682:
677:
676:
671:
670:
665:
664:
659:
658:
653:
652:
647:
646:
641:
640:
635:
634:
629:
620:
618:
617:
612:
611:
610:The Evil Dead
606:
605:
600:
596:
588:
587:
582:
581:
576:
575:
570:
569:
564:
563:
558:
557:
552:
551:
546:
545:
540:
539:
534:
533:
528:
526:
521:
520:
515:
514:
509:
508:
503:
502:
497:
496:
491:
486:
483:legacy sequel
477:
475:
474:
469:
468:
463:
455:
454:
449:
448:
443:
442:
437:
436:
431:
430:
424:
416:
407:
405:
404:
399:
398:
393:
391:
388:the animated
385:
383:
378:
377:
372:
371:
366:
365:
360:
358:
353:
352:
347:
346:
341:
340:true prequels
337:
333:
329:
324:
322:
321:
316:
315:
310:
307:direct sequel
297:
295:
293:
289:
283:
279:
277:
272:
270:
266:
262:
258:
254:
250:
246:
242:
238:
234:
230:
226:
223:is a work of
222:
215:
214:
209:
208:
203:
193:
190:
182:
179:February 2024
171:
168:
164:
161:
157:
154:
150:
147:
143:
140: –
139:
135:
134:Find sources:
128:
124:
118:
117:
112:This article
110:
106:
101:
100:
91:
88:
80:
77:February 2024
70:
66:
62:
56:
55:
50:This article
48:
39:
38:
33:
19:
2840:
2832:
2803:
2781:Film Sequels
2780:
2757:
2738:
2728:
2717:. Retrieved
2713:The Guardian
2712:
2699:
2690:
2680:
2671:
2662:
2654:The Guardian
2653:
2644:
2630:
2622:
2618:
2604:
2596:The Guardian
2595:
2585:
2576:
2567:
2556:. Retrieved
2552:
2542:
2510:(1): 23–46.
2507:
2503:
2493:
2481:
2469:. Retrieved
2465:
2455:
2443:. Retrieved
2439:
2429:
2423:. Shacknews.
2414:
2405:
2395:
2387:
2380:. Retrieved
2369:
2361:
2356:
2348:
2343:
2335:
2330:
2322:
2317:
2309:
2289:
2283:. Retrieved
2268:
2261:
2253:
2248:
2238:, retrieved
2209:Film Reboots
2208:
2198:
2189:
2184:February 13,
2182:. Retrieved
2174:
2165:
2157:
2152:
2142:
2137:
2125:. Retrieved
2115:
2103:. Retrieved
2088:
2081:
2073:the original
2063:
2051:. Retrieved
2047:the original
2042:
2032:
2021:. Retrieved
2017:
2007:
1995:. Retrieved
1989:
1979:
1965:
1951:
1937:
1930:
1925:
1918:
1917:Jack Zipes;
1913:
1905:
1900:
1880:
1873:
1862:
1858:
1856:
1839:M. E. Sharpe
1834:
1828:
1816:. Retrieved
1812:the original
1807:
1797:
1786:. Retrieved
1782:
1772:
1689:
1653:
1642:Kirill Eskov
1637:
1623:
1613:
1605:
1580:
1572:
1569:György Dalos
1560:
1556:
1546:
1521:
1509:
1497:
1491:
1479:
1466:
1452:
1435:
1402:
1395:
1387:
1364:
1358:
1352:
1338:
1336:
1333:
1330:
1326:
1311:
1305:October 2017
1302:
1287:Please help
1275:
1240:
1238:
1222:
1200:
1190:January 2018
1187:
1183:adding to it
1178:
1155:
1151:
1147:
1140:
1135:
1133:
1126:
1116:
1108:
1094:
1088:
1080:
1072:
1061:
1053:
1052:, sequel to
1047:
1032:
1030:
1017:
1013:Man of Steel
1011:
1005:
999:
993:
987:
980:
973:
967:
961:
955:
949:
942:
936:
930:
924:
918:
912:
906:
900:
893:
890:
878:
872:
858:
852:
842:
832:
822:
819:Kirill Eskov
814:
810:
806:
802:
794:
786:
782:
780:
773:
767:
763:
756:
749:
743:
734:
730:
728:
721:
720:(2022) and
715:
709:
703:
697:
691:
685:
679:
673:
667:
661:
655:
651:Home Alone 3
649:
643:
637:
631:
623:
621:
614:
608:
602:
601:to describe
590:
584:
578:
572:
566:
562:Rocky Balboa
560:
556:Doctor Sleep
554:
548:
544:Tron: Legacy
542:
536:
530:
524:
517:
511:
505:
499:
493:
480:
478:
471:
465:
457:
451:
445:
439:
433:
427:
418:
410:
408:
401:
400:(2000). and
395:
394:(1989), and
389:
381:
374:
370:Breaking Bad
368:
362:
356:
349:
344:
339:
335:
331:
325:
318:
312:
304:
301:
284:
280:
273:
253:expands upon
220:
218:
211:
205:
185:
176:
166:
159:
152:
145:
133:
121:Please help
116:verification
113:
83:
74:
51:
2668:"Steampunk"
1685:Film series
1675:Cliffhanger
1670:Book series
1644:. It is an
1443:Jane Austen
1162:Video games
1096:Don Quixote
604:Evil Dead 2
473:Black Widow
432:(2016) and
314:Toy Story 2
2852:Categories
2808:SUNY Press
2719:2010-03-30
2558:2022-07-18
2285:2014-11-14
2240:2023-03-11
2023:2023-03-19
1841:. p.
1788:2010-08-09
1764:References
1616:(1997) by
1585:(1984) by
1457:(1924), a
1414:copyrights
1251:See also:
1235:Box office
748:(2021) to
731:plot reset
583:, and the
438:(2018) of
292:neologisms
288:chronology
245:video game
237:television
225:literature
149:newspapers
61:improve it
2534:158819120
2526:1024-5294
2235:236796220
1866:original.
1752:Tetralogy
1707:Pentalogy
1607:Jane Eyre
1276:does not
1101:Cervantes
1083:copyright
1001:Star Trek
952:crossover
938:Torchwood
926:Lightyear
887:Relatives
841:'s novel
821:'s novel
807:Stardrift
737:resetquel
525:Star Wars
513:Cobra Kai
501:Halloween
460:intraquel
441:Star Wars
429:Rogue One
421:interquel
384:TV series
257:narrative
65:verifying
2715:. London
2553:Deadline
2471:June 20,
2445:June 20,
2406:BBC News
2382:June 20,
2053:July 29,
1818:June 23,
1663:See also
1496:(a.k.a.
1474:Jacobite
1420:Literary
1379:Pastiche
1369:(2000).
1357:(1967),
1203:triple-A
896:spin-off
883:(2006).
805:(1972),
803:Starbrat
795:sidequel
789:paraquel
783:parallel
754:(2016).
723:Twisters
714:(2021),
708:(2021),
702:(2020),
696:(2015),
666:(2007),
654:(1997),
648:(1982),
642:(1988),
636:(1964),
619:(2022).
510:(2021),
507:Candyman
504:(2018),
348:(1999),
259:work of
138:"Sequel"
2868:Sequels
2105:30 July
1757:Trilogy
1712:Prequel
1630:Russian
1551:(1976)
1500:) is a
1459:prequel
1297:removed
1282:sources
1128:Shamela
1068:romance
1064:novella
1027:History
1007:Børning
944:CSI: NY
914:Minions
880:Saw III
813:), and
660:(2006)
467:Bambi 2
413:midquel
406:(2024)
357:Tremors
328:prequel
261:fiction
233:theatre
163:scholar
59:Please
18:Sequels
2814:
2791:
2768:
2532:
2524:
2276:
2233:
2223:
2191:story.
2096:
1888:
1859:before
1849:
1727:Remake
1597:books.
1343:, its
1118:Pamela
983:reboot
908:Planes
874:Saw IV
616:Scream
593:requel
522:, the
332:sequel
276:series
221:sequel
165:
158:
151:
144:
136:
2833:Slate
2530:S2CID
2231:S2CID
2178:(SFE)
2160:; 210
1997:3 May
1511:Heidi
793:, or
733:, or
456:. An
453:Saw X
359:films
251:, or
247:that
243:, or
241:music
170:JSTOR
156:books
2812:ISBN
2789:ISBN
2766:ISBN
2522:ISSN
2473:2019
2447:2019
2384:2019
2274:ISBN
2221:ISBN
2186:2023
2129:2018
2107:2013
2094:ISBN
2055:2011
1999:2017
1908:; 19
1886:ISBN
1847:ISBN
1820:2011
1574:1985
1502:1938
1428:and
1280:any
1278:cite
1255:and
1154:and
1066:and
1016:and
972:and
941:and
923:and
775:Moon
769:Mute
470:and
435:Solo
392:film
317:and
229:film
142:news
2512:doi
2213:doi
1843:211
1652:'s
1593:'s
1545:In
1538:'s
1465:to
1461:by
1291:by
1185:.
1146:'s
1134:In
1031:In
851:'s
831:'s
125:by
63:by
2854::
2810:.
2806:.
2787:.
2783:.
2764:.
2760:.
2737:.
2711:.
2689:.
2670:.
2652:.
2594:.
2575:.
2551:.
2528:.
2520:.
2508:23
2506:.
2502:.
2464:.
2438:.
2404:.
2386:.
2297:^
2288:.
2229:,
2219:,
2207:,
2188:.
2173:.
2041:.
2016:.
1988:.
1855:.
1845:.
1837:.
1806:.
1781:.
1636:,
1632::
1131:.
1010:,
1004:,
998:,
992:,
981:A
966:,
960:,
950:A
935:,
917:,
911:,
905:,
894:A
801:—
785:,
781:A
778:.
757:A
729:A
690:,
684:,
678:,
672:,
622:A
577:,
571:,
565:,
559:,
553:,
547:,
541:,
535:,
529:,
516:,
498:,
492:.
479:A
476:.
409:A
386:,
361:,
326:A
323:.
239:,
235:,
231:,
227:,
219:A
2820:.
2797:.
2774:.
2741:.
2722:.
2693:.
2638:.
2612:.
2598:.
2561:.
2536:.
2514::
2475:.
2449:.
2408:.
2215::
2131:.
2109:.
2057:.
2026:.
2001:.
1894:.
1822:.
1791:.
1658:.
1628:(
1620:.
1565:.
1449:.
1406:,
1318:)
1312:(
1307:)
1303:(
1299:.
1285:.
1192:)
1188:(
192:)
186:(
181:)
177:(
167:·
160:·
153:·
146:·
119:.
90:)
84:(
79:)
75:(
57:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
