What the New Hollywood era did for movies, the Renaissance Age did for animation. Encompassing the late 1980s and the 1990s, the Renaissance Age of Animation had the medium see a significant increase in technical quality and finally returned to a point of artistic respect it had not seen since the Golden Age.
The Renaissance age is usually considered to begin in the 80s, but it must be noted that for much of that decade, Western animation was still strangled by the Ghetto, plagued by a lack of artistic vision and pathetic budgets. Limited Animation was still the rule on televisionnote ; Merchandise-Driven shows like He-Man, Strawberry Shortcake, Care Bears, The Transformers, G.I. Joe, My Little Pony, Jem, and ThunderCats ruled 80s television animation and had parents' groups up in arms about children watching glorified toy commercials, which were also strictly separated into shows for boys and shows for girls. That said, these colorful and often action-packed shows were nevertheless a major change of pace from the dull offerings of The Dark Age of Animation and were entertaining to their target demographics, which is demonstrated by the fact that several of them became major pop culture phenomena that are fondly remembered to this day.
Less enduring but more common in 80s TV cartoons was the tendency to give live-action franchises Animated Adaptations. This included well-received hits like The Real Ghostbusters, but also forgotten and/or derided fare like The Fonz and the Happy Days Gang (IN SPACE!), Rambo: The Force of Freedom, Dragon's Lair, and ALF.
The Disney Animated Canon came close to ending for good when The Black Cauldron, intended to be the stunning debut of a new generation of animators (the final remaining members of the Nine Old Men having departed at the dawn of the decade), didn't impress recently-arrived company executives, Michael Eisner and Jeffrey Katzenberg. They recut it without the director's consent, and it proceeded to tank at the box office, being thwarted by The Care Bears Movie. However, things at Disney were about to change big time.
Witnessing the success of first-run syndicated cartoons like He-Man and Care Bears (1980s), Disney tried its luck with two original series of its own in 1985: The Wuzzles, which was soon forgotten, and Adventures of the Gummi Bears, which became a major hit whose lavish production values put its contemporaries to shame. Vindicated in their investment, Disney began funding a slew of original series, starting with DuckTales (1987) and Chip 'n Dale: Rescue Rangers (both spinoffs of their Golden Age shorts) but eventually becoming numerous enough that they got their dedicated block of television: The Disney Afternoon, a tour-de-force of branding that lasted for over a decade.
Other broadcasting companies took notice and developed their original series. In 1987, Ralph Bakshi produced Mighty Mouse: The New Adventures with John Kricfalusi, which, despite its short run and modest ratings, employed a unique amalgam of irreverent writing and stylized, highly-energetic animation and design reminiscent of the idiomatically "cartoonish" animated shorts of the golden age. Warner Bros. had its revival after they hired a bunch of Hanna-Barbera expats to bring Looney Tunes-style comedy into the 1990s – the Steven Spielberg-produced Tiny Toon Adventures and Animaniacs were the most successful. Much of the crew from these shows went on to launch the DC Animated Universe with Batman: The Animated Series in 1992. This time, Disney aped them with a cult dark action series of their own, Gargoyles, created by Greg Weisman, although they eventually mishandled it badly. Cable networks such as Nickelodeon and (much later) Cartoon Network began their existence with reruns and repackaging of cartoons from earlier eras as well as syndicated or foreign fare (as did the USA Network's Cartoon Express block. The whole network was like that back then: this was also the modus operandi of the emerging home video market) but moved on to create their shows during the '90s. Nickelodeon, previously notable for its live-action comedy output, launched the "Nicktoons" brand in 1991 with Doug, Rugrats, and The Ren & Stimpy Show, consciously emphasizing a "creator-driven approach" relative to the heavily-corporatized animated shows populating more established networks. This experiment would prove enormously successful and influential, sparking a succession of popular (and often bizarrely-designed) series - among them Rocko's Modern Life, Hey Arnold!! and The Angry Beavers - eventually culminating in the juggernaut SpongeBob SquarePants (which would arguably subsume the network as a whole over the following years) at the end of the decade. During the mid-1990s, the then-ailing Hanna-Barbera likewise underwent a rebrand and began to label their original series (produced specifically for the then-fledgling Cartoon Network) "Cartoon Cartoons" – Johnny Bravo, Dexter's Laboratory, and Cow and Chicken were among the first to use the moniker. Following Bill Hanna's death in 2001 (and Hanna-Barbera's resultant full absorption into Cartoon Network), however, that name was eventually dropped, however, with 2002's Codename: Kids Next Door the last show to be dubbed a "Cartoon Cartoon". Meanwhile, some of the smaller studios such as Universal and MGM attempted to get back into the animation game. Universal's was relatively successful, though many of their series tended to be short-lived (including Exosquad, and the Earthworm Jim cartoon), and eventually declined to churning out sequels to The Land Before Time before shutting down by the early 2010s. MGM's was even worse and had shuttered completely by 2000.
On the silver screen, the industry gradually rose to new heights during the 1980s. After the box office failures of animated movies in the 1970s, Disney defector Don Bluth pushed for a return to the rich classical style of the Golden Age, beginning with 1982's The Secret of NIMH – while it was not a blockbuster, it quickly became a Cult Classic. It attracted the attention of no less than Steven Spielberg, which led to Bluth's directing the successful An American Tail and The Land Before Time for Amblin Entertainment. Bluth would both rise to prominence and fall during this period, but his collaboration with Spielberg proved to be the first real challenge Disney had ever faced in the animated film department, at least since the Fleischers were in business on the eve of WWII. The failure of Disney's The Black Cauldron in 1985 seemed to spell the end of Disney's animation unit, but fortunately, it persevered, mainly due to the modest success of The Great Mouse Detective. After the threat from Bluth and Amblin though, Disney frantically stepped up its game and rallied with Oliver & Company, which was another modest success. Their newly-established, adult-oriented Touchstone Pictures label co-produced – with Amblin Entertainment, as it happened – Who Framed Roger Rabbit, a live action/animated fantasy that also served as a Massive Multiplayer Crossover of Golden Age characters and was the box office sensation of 1988.
It was followed by The Little Mermaid in 1989, a musical that refreshed the old formulas of yore and was a surprise sensation at the box office – at last, they were well and truly back in the game. While the following year's The Rescuers Down Under was a financial disappointment, Beauty and the Beast raised Disney's bar even higher, a financial and critical success (in fact, the first animated film ever to receive a Best Picture Oscar nomination). Their next film, Aladdin, proved a smash with the stellar performance of Robin Williams cementing the Celebrity Voice Actor as the "star" of an animated film.* Finally, The Lion King surpassed all expectations to become a cultural landmark and the peak of Disney's success. Some laypeople refer to this era as the "Disney Renaissance", since they were the most prominent and successful animation studio during the period with the most consistent track record of hits.
Besides its success in film, Disney also became heavily involved in television animation for the first time. The Disney Afternoon was a syndicated programming block that lasted throughout the 1990s. Disney re-imagined some of its classic characters in new shows (Chip 'n Dale: Rescue Rangers and TaleSpin) and created some entirely new ones (Gargoyles and Bonkers), most of which are fondly remembered by people who grew up in that era.
By the end of The '90s, rival studios had launched their feature animation units, most notably DreamWorks SKG. note However, most of them found that the public was still largely trapped in the mindset of All Animation Is Disney, so most of these attempts failed miserably or fell victim to Disney's aggressive marketing – such as rereleasing The Lion King late in 1994 so it could crush its rival The Swan Princess.note Even Bluth was eventually forced to ape the tone and narrative structure of '90s Disney with Anastasia (his only true financial success in the 90's), and his attempt to break out again with Titan A.E. failed and sunk his career. DreamWorks Animation struggled out of the gate with the underperformance of their traditionally-animated films like The Prince of Egypt and The Road to El Dorado (though both of those had good critical reception), but they noticed their small computer-animated film Antz did better financially. This suggested to DreamWorks and other studios that there was a way out from under Disney's shadow via new animation techniques. They made a deal with the hailed British Stop Motion company Aardman Animations, who helped show them that success came from developing their voice and style in a new age.
Adult-aimed animation finally came back to television during this period. The Simpsons became a full-fledged series in 1989 and went on to become probably the most critically acclaimed television cartoon series of all time, and MTV caused a stir with Mike Judge's Beavis and Butt-head. MTV, of course, is cable – and from here came the last great progress that cemented the renaissance: the rise of cable television.
All in all, this era did a good job of at least brushing away the worst aspects of the Dark Age. Parental Bonus was back, quality had soared, and profits were high.
Anime also found headway in North America during this period. Robotech became a cult favorite, audaciously flouting of contemporary North American TV animation conventions to present a sweeping military SF saga that felt very different from homegrown fare like G.I. Joe. Furthermore, the success of AKIRA proved that there was a market for Anime in America, and fostered the growth of what was originally a relatively underground following. As a result, overseas anime distribution had its first boom in popularity during the early-to-mid-90's, and advertised the medium as the ultraviolent, raunchy alternative to the cartoons of the west, striking fear into Moral Guardians. This racy image, however, had faded by the end of the 90's, as much tamer, kid-oriented shows such as Sailor Moon, Dragon Ball, and Pokemon began to make their presence on TV across the world and showed that anime could be extremely profitable. This is also, of course, the period when the Western world was finally introduced to the genius of Hayao Miyazaki (after an abortive attempt years earlier involving a hacked-up version of Nausicaa that we have been asked to forget ever existed), with his classic films like the intelligently charming Kiki's Delivery Service and the ever-adorable My Neighbor Totoro. Disney would take interest in his films beginning with his grand, profound fantasy drama Princess Mononoke.
Indeed, anime must briefly be mentioned as a growing influence on Western animators themselves, as they were aware of what was happening in Japan well ahead of the general public. Once fare like AKIRA and Ghost in the Shell began showing up, animators and directors in America began straining at the bit to have their artistic restrictions loosened for fear of a consistent flood of high-quality anime pounding the western studios flat. It was a flood which never quite materialized as they feared, but it still lit fires under a lot of people and led directly to many of the products of The Millennium Age of Animation.
This era contains a significant shift in technology: the switch from traditional cel & ink & paint animation to computers. Animation studios rode the wave of the digital revolution that brought affordable PCs to the masses in the 1980s. From starting off as a means to animate commercials, network bumpers, music videos, and even some groundbreaking VFX work for films like TRON, Star Trek II: The Wrath of Khan and Labyrinth, Disney eventually employed CG for major parts of their films starting with The Rescuers Down Under, and by Beauty and the Beast had refined it considerably (the backdrop of the ballroom scene was CGI, as are the stampede from The Lion King and the crowd scenes in The Hunchback of Notre Dame). Throughout the 90's, digital compositing and coloring slowly replaced ink & paint. Later, computer programs like Flash and Maya made inroads as animation tools. In 1994, the first completely CGI TV series, ReBoot, came out of Canadian studio Mainframe Entertainment and premiered on ABC in the USA. 1995 saw the release of the first all-CGI feature film, which launched Pixar into the spotlight and into a position to drive the future of the animation industry: Toy Story. By the end of the decade, CGI had firmly placed itself as a legitimate method of animation for both fully animated efforts and live action as the VFX industry fully embraced the wave of CGI effects with the help of Industrial Light & Magic, Pacific Data Images, Rhythm & Hues and Digital Domain's breakthroughs in the technique.
This was also the era in which outsourcing truly took off. Doing the entire traditional animation process in America had long since become cost-prohibitive, especially for television, so most Renaissance-Era cartoons outsourced production to overseas studios—first Japan (Toei Animation, TMS Entertainment), then South Korea (AKOM, Hanho Heung-Up) and Taiwan (Wang Film Productions) after Japan became too expensive (and having their industry being resurrected by Neon Genesis Evangelion after years of almost nothing but Merchandise-Driven shows (either in the traditional sense or to sell manga) and western outsourcing; Ghibli being the only studio in Japan to avoid this when TMS took advantage of the later, giving them co-producer control most Japanese studios beg for in their local works). The switch to computers allowed cartoons to keep more of their production domestic, but hand-drawn series, in particular, continued to outsource most of the actual animation to South Korea… and still, do to this day.note
This isn't to say it was all good news, day in and day out, though. The utter dominance of Disney at the box office during this period meant that independent animators who had flourished during the 1970s and 1980s, such as Ralph Bakshi and Don Bluth, were elbowed out of the animated film market— indeed, between the release of The Land Before Time in 1988 and Anastasia in 1997, there were no successful American animated movies produced by studios other than Disney, leading to the stereotype that All Animation Is Disney. Adult animation began to flourish during this era thanks to the likes of The Simpsons, Beavis and Butt-Head, and South Park, creating the Animated Shock Comedy genre, but this simply cemented the view, in the minds of many audiences, that animated series aimed at adults could only be comedies.
To make matters worse, rival studios' Disney-esque efforts were usually pale imitations at best—consider Don Bluth's work post-All Dogs Go to Heaven, The Swan Princess, etc.—and often even worse when it came to Disneyfication, culminating in two Italian animated features that turned the Titanic disaster into Happily Ever After kids movies. The absolute nadir of the trend, at least as far as wide-release animated films go, was Warner Bros.'s Quest for Camelot, which was plagued by Executive Meddling that turned a planned older-oriented film into a G-rated mess. Sadly, this film outdid far superior works from WB like the Ghetto-busting The Iron Giantnote and Cats Don't Dancenote financially, even as critics savaged it. This is partly because WB condemned both films in theaters with Invisible Advertising. One could even pin Quest For Camelot as being one of the films that led to the eventual downfall of the Renaissance Age.
There is no consensus on when this era ended, only that it did. Television cartoons in particular often bridged eras, with Renaissance-era shows airing alongside post-Renaissance ones for many years.note
Depending on who you ask, the deterioration of this era began somewhere around the end of the 1990s or the early 2000s. The seeds may have been sown in 1995 when Disney distributed Pixar's Toy Story. That film was a huge hit both critically and commercially… while Disney's traditionally animated entry for the year, Pocahontas, did well financially but disappointed academics and critics. Disney's increasingly formulaic approach to feature storytelling – characters who don't fit in, fantasy forbidding parents, "I want" songs, wacky sidekicks, pop culture jokes, etc. – in the wake of its early-'90s hits, resulted in films that strove to include more adult themes/stories yet couldn't lift themselves out of the worst aspects of the Ghetto when it came to content. Disneyfication became a dirty word as critics accused them of whitewashing or dumbing down history and classic literature/mythology (the increasing amounts of merchandise tied into these films didn't help matters). That said, while these films were considered inferior to their predecessors, only one, the aforementioned Pocahontas, was a critical failure – at a mediocre 56% on Rotten Tomatoes, it's the only real critical failure of the Disney Renaissance. Meanwhile, the entries that were relative box office disappointments – The Hunchback of Notre Dame and Hercules – were modestly well-received by said critics (at a decent 73% and a good 83% on Rotten Tomatoes, respectively), who considered them improvements over the preachy and pretentious Pocahontas — Hunchback has since been Vindicated by History to the point that it's a dark-horse candidate for the masterpiece of the Disney Renaissancenote . Mulan and Tarzan were even viewed as coming close to the earlier works (at 86% and 88%, respectively).
Also, Disney under Eisner started producing direct-to-video sequels, prequels, and interquels to most of their Modern Age films via their television animation units, which sold well but are considered inferior to the quality of the originals. The sales were so good that Golden Age and Dark Age efforts were also given this treatment, to the increasing horror of adult Disney fans. It can be argued that the "cheapquels" led to a fatal dilution of the Disney brand name, causing audiences to take less interest in their newer animated canon efforts. And when rival studios (particularly MGM and Universal Studios) started doing the same thing with films they owned the rights to, video stores were glutted with unwanted, unworthy sequels to everything from The Secret of NIMH to The Swan Princess. Before this era, sequels were rare if not non-existent; The Rescuers Down Under was at the time one of the only exceptions. It's one reason the Renaissance, like every other period in animation history, is a bit of a mixed bag.
Also, in an ironic twist, the success of animation and children's programming on cable helped to mortally wound animation on broadcast TV, killing the weekday animation block outright (except on Public Television) and beginning the slow death of the Saturday Morning Cartoon. The addition of three new cable channels (plus two new broadcast networks) for animated programming† , and the increased competition inherent in such a thing, naturally led to audience fragmentation, which led to declining ratings, which led to declining ad revenue, which led to decreased profits. Animation is an expensive medium – always was and always will be, at least to do it right – so cartoons were either axed by the broadcast networks or jumped to cable (where budgets were already much smaller). The other thing that killed animation on broadcast television was Government—the Moral Guardians who had slammed late-Dark-Age cartoons for being glorified toy commercials never went away. Indeed, they successfully convinced the FCC to impose even more restrictions on advertising content in children's programming and to strictly enforce the "educational content" requirement on the networks (exemplified by the e/i logo). This resulted in the Ghetto becoming legally enforced on cartoons airing on the traditional networks, and the networks backing off as a result.note
The Renaissance era can be reasonably be said to have lasted until around 1999note , 2000note , perhaps even 2001note , or all the way up to 2004note or 2008.note
For this era's successor, see The Millennium Age of Animation.
- AKIRA: The film that made people take anime seriously.
- An American Tail: This movie was a surprise success at the box office, the first non-Disney animated movie to out-perform Disney, and had a lot to do with showing people that cartoons could still be profitable. Also marked Steven Spielberg's entrance into the animation scene.
- An American Tail: Fievel Goes West, and the two direct to video sequels.
- Anastasia: The last successful Don Bluth film.
- All Dogs Go to Heaven: Considered by many of Don Bluth's fans to be his masterpiece or his last good film depending on how one views Anastasia.
- Spawned a sequel and a TV series, neither with Bluth's involvement.
- Antz: The first film to be released by DreamWorks Animation, and the second major all-CGI feature.
- Balto: The last animated film from Amblin before its animation division shuttered in favor of DreamWorks Animation.
- Beavis and Butt-Head Do America
- The Big Snit
- The Brave Little Toaster
- A Bug's Life
- The Cat Came Back
- Cats Don't Dance
- Christmas In Tattertown: A 1988 TV special Ralph Bakshi made for Nickelodeon, made in an attempt to revive the 1920s' rubberhose cartoon style. Nickelodeon intended it to be a series, but Bakshi knew this would never work, so it never went past this pilot.
- Cool World: The last (mostly) animated film by Ralph Bakshi until The Last Days of Coney Island in 2015.
- David Copperfield: 1993 animated adaptation of the classic Charles Dickens story with an anthropomorphic cast.
- The Devil And Daniel Mouse: An esoteric '80s made for TV film.
- Disney Animated Canon:
- The Little Mermaid: The movie that brought Disney into its renaissance era, after repeated defeats at the box office by Don Bluth's movies.
- The Rescuers Down Under: Prior to Ralph Breaks the Internet, this was Disney's only sequel.
- Beauty and the Beast: The first animated feature to earn a Best Picture Oscar nomination, a distinction that would not be repeated until 2010's nomination for Up.
- Aladdin: Although the DTV sequels and TV series were liked by critics and viewers alike, their popularity ironically opened the floodgate to the Sequelitis that would plague Disney for years.
- The Lion King: Broke the record for the highest-grossing animated movie, holding it for nine years until Finding Nemo was released, and still the highest-grossing traditionally-animated film of all time. Also cemented the later-maligned wacky sidekick trope that Aladdin originally introduced with The Genie, with Timon & Pumbaa.
- Pocahontas: Considered by some to be the beginning of the end of Disney's portion of the Renaissance.
- The Hunchback of Notre Dame
- Hercules
- Mulan: The first of three feature films primarily made at Walt Disney Animation Florida.
- Tarzan: Regarded as the final Disney Renaissance film.
- Fantasia 2000: A follow-up to the Walt Disney classic.
- Dinosaur: Sort of since it started development in 1994.
- The Emperor's New Groove: This was meant to be an epic musical but in 1998, two years before it was released, it was changed to a buddy comedy. The production process was particularly painful for those involved.
- Atlantis: The Lost Empire: Like The Emperor's New Groove, this was made as a science fiction film (the first of three in a row) to save the Disney Renaissance from its downfall but failed at both. This also started the downfall of Disney's main hand-drawn animated department.
- Lilo & Stitch: An offbeat sci-fi comedy-drama made at Walt Disney Animation Florida and written and directed by two animators of several Disney Renaissance films (Chris Sanders and Dean DeBlois). It was a lower-budget project as then-CEO Michael Eisner believed that Disney Animation was too focused on big-budget blockbusters and wanted to see if the company can make an animated film that doesn't break the bank. It paid off in dividends by being Disney Animation's only combined major critical and commercial success in the first half of the 2000s, but it only delayed the inevitable.
- Treasure Planet: Pitched by Ron Clements and John Musker four times, the last of which was successful in 1997 when it started production. Also, its troubled production was one of the factors that led to Peter Schneider being sent away from Disney. Definitely started the downfall of Disney's hand-drawn animated department.
- Brother Bear: Last film produced primarily at Walt Disney Animation Florida.
- Home on the Range: Definitely the last film of the era as this was pitched twice in the 1990s. Mike Gabriel and Mike Giamo were replaced with Will Finn and John Sanford in 2000 due to the persistent story problems after the previous year; production started to be salvaged.
- Eight Crazy Nights
- The Fearless Four (1997): A German-animated feature, being an extremely loose adaptation of "The Four Musicians of Brementown".
- FernGully: The Last Rainforest
- Felidae
- Finding Nemo: Sort of as this film entered production in 1997. However, it wasn't released till 2003.
- The Flight of Dragons
- A Flintstones Christmas Carol
- Freddie as F.R.O.7: Made by the British during this era, it's one of the strangest animated films you will ever see.
- A Goofy Movie: Technically not part of the Disney Animated Canon but very well-liked nonetheless.
- Help! I'm a Fish
- The Iron Giant
- The King and I (the 1999 film).
- The Land Before Time: The second Bluth movie to make box office records. Also has a very infamous case of sequelitis.
- The Last Unicorn: The first Western animated film to heavily utilize Japanese animators and their style.
- Little Nemo: Adventures in Slumberland: Intended to be a showcase to the Western world of what Japan could do, its infamously Troubled Production resulted in a mediocre film that was largely forgotten.
- Lucky and Zorba
- Mumfie's Quest
- The Man Who Planted Trees
- Mickey's Christmas Carol: Mickey Mouse's first theatrical short since 1953
- Millionaire Dogs
- Monsters, Inc.: Can be considered to kill the era since it overshadowed Shrek which ironically overshadowed ''Atlantis: The Lost Empire as it convinced the animation studios that traditional animation is no longer relevant.
- Mrs. Doubtfire: Has a cartoon segment contributed by Chuck Jones.
- The Nightmare Before Christmas
- Once Upon a Forest
- The Pagemaster
- The Pebble and the Penguin: Directed by the one and only world famous
Don BluthAlan Smithee. - The Prince of Egypt
- Quest for Camelot: As mentioned above, often cited as ending the Renaissance Era in cinemas.
- The Road to El Dorado
- Rock-A-Doodle: Seen by most fans as the movie where Don Bluth jumped the shark.
- Rover Dangerfield
- Rudolph the Red-Nosed Reindeer: The Movie
- The Scarecrow (2000): Last Richard Rich film from the era which was originally going to be released theatrically till the failure of The King and I prevented that.
- The Secret of NIMH: Came out somewhat before what many agree to be the start of the renaissance, but definitely played a role in shaping it in the long run.
- Shrek: One of the last films of the era as it convinced the animation studios that hand-drawn animation is no longer profitable
- Sinbad: Legend of the Seven Seas: DreamWorks' last hand-drawn animated movie.
- South Park: Bigger, Longer & Uncut
- Space Jam
- Lola Bunny made her debut in this film as a Looney Tunes Canon Immigrant.
- Spirit: Stallion of the Cimarron
- Starchaser: The Legend of Orin: A 1985 3-D animated movie, notably for early mixing of hand-drawn animation and CGI.
- Stay Tuned: A live action feature, notable for an animated segment contributed by Chuck Jones.
- Studio Ghibli:
- The Castle of Cagliostro: While this was not produced by the studio nor was it made during the renaissance age, it is Hayao Miyazaki's directorial debut and is regarded as one of the films which heralded the coming of this era.
- Nausicaä of the Valley of the Wind
- Castle in the Sky
- Grave Of The Fire Flies
- My Neighbor Totoro
- Kiki's Delivery Service
- Only Yesterday
- Porco Rosso
- Pom Poko
- Whisper of the Heart
- Princess Mononoke
- My Neighbors the Yamadas
- The Swan Princess: Notable in how frequently it attempts to defy the Disney formula, while having the characters still end up Genre Blind for other reasons, and ultimately succumbing to the Disney formula. Also the most successful animation motion picture to come from Nest (meaning: neither Disney nor DreamWorks nor Don Bluth).
- Thumbelina: As The Nostalgia Chick said, it holds many similarities to the Disney formula of the time and doesn't work out so well.
- The Thief and the Cobbler: Sort of. Although it was "finished" and released in the '90s, it did start production in the 1960s.
- Titan A.E.: Considered to be the last film of the era, as its box office failure convinced animation studios to invest more in computer animation.
- Tom and Jerry: The Movie
- Toy Story: The first fully CGI animated film.
- A Troll in Central Park: The biggest box office flop in animation history... until Delgo
- Twice Upon a Time
- The Fantastic Adventures of Unico
- Volere Volare: A French Roger Rabbit Effect romantic comedy.
- Who Framed Roger Rabbit: The film that brought the Golden Age and its characters back into the mainstream.
- The Roger Rabbit Shorts, a trio of short films (Tummy Trouble, Roller Coaster Rabbit, and Trail Mix-Up) created to proceed the theatrical releases of Honey, I Shrunk the Kids, Dick Tracy, and A Far Off Place.
- Willy the Sparrow
- Unico in the Island of Magic
- Valhalla, released in 1986 and based on the comic book of the same name. Its budget of 40 million kroner (About 5 million euros) still makes it the most expensive animated film produced in Denmark, and it basically fostered a new generation of Danish animators.
- For Anime television series, please see:
- Anime and Manga of the 1980s, and
- Anime and Manga of the 1990s
- The anime that had the greatest mainstream success in North America during this era are Dragon Ball Z, Sailor Moon, and Pokemon. Captain Tsubasa, along with DBZ and Saint Seiya, had the same effect in Latin America.
- 2 Stupid Dogs
- Aaahh!!! Real Monsters
- Adventures of the Galaxy Rangers
- Adventures of the Gummi Bears (1985): The Disney cartoon that finally introduced quality animation to made-for-TV cartoons, playing a big role in getting rid of lingering legacies from The Dark Age of Animation.
- The Adventures of Tintin
- Æon Flux
- Aladdin: The Series
- Albert the Fifth Musketeer
- Alfred J. Kwak
- Animaniacs
- Wakko's Wish: A direct-to-video film based off said series.
- The Angry Beavers
- Arthur: The longest-running children's animated television series in North America, based on a series of books by Marc Brown.
- Batman: The Animated Series
- Beavis and Butt-head
- The Berenstain Bears: 1980s cartoon adaptation of Stan and Jan Berenstain's most popular series of books.
- Beethoven: The Animated Series: Yes, this does exist.
- Betty Boop: Received two television specials in the '80s – "The Romance of Betty Boop" (1985), and "Betty Boop's Hollywood Mystery" (1989).
- Beetlejuice
- Biker Mice from Mars
- Bionic Six
- Billy
- Black Cat Detective
- Bobby's World
- Bonkers
- The BOTS Master
- BraveStarr
- The Brothers Flub
- The Brothers Grunt: Danny Antonucci's pre-Ed, Edd n Eddy work.
- Bruno the Kid
- Bubsy: An Animated Adaptation of the games. Never made it past the pilot. Don't ask Rob Paulsen about it.
- Budgie the Little Helicopter
- C-Bear and Jamal
- Captain N: The Game Master
- Captain Planet and the Planeteers
- Care Bears
- Cartoon All-Stars to the Rescue: Very Special Episode, the… uh… special.
- Casper the Friendly Ghost: Got both a live action/CGI hybrid movie revival, as well as a brand new animated TV series to boot.
- CatDog
- Centurions
- Chip 'n Dale: Rescue Rangers
- The Chipmunks: The 1980-90s incarnation of Alvin and the Chipmunks.
- Chuck Norris: Karate Kommandos
- The Comic Strip
- C.O.P.S.
- Courage the Cowardly Dognote
- Cow and Chicken: Could also be considered the first post-Renaissance TV cartoon.
- The Critic
- Danger Mouse: Got its start at the very end of the Dark Age and is widely considered to have helped pioneer the Renaissance.
- Daria
- Darkwing Duck
- Defenders of the Earth
- Dexter's Laboratory
- Dinosaucers
- Doug: The very first Nicktoon (all three debuted on the same day, but this one had the first timeslot), and the first TV show for Jumbo Pictures. Later Channel Hop'd to ABC after Disney offered Jim Jinkins an opportunity to un-cancel it.
- Dragon Ball: Considered to be the most-recognizable anime franchise of all time.
- Dragon Ball (1986-89)
- Dragon Ball Z (1989-96: This, along with Pokemon, firmly solidified anime's popularity in the West)
- Dragon Ball GT (1996-97)
- Dragon Tales: Got its start at the end of this era.
- Duckman
- DuckTales (1987)
- Earthworm Jim
- Ed, Edd n Eddy: Got its start at the end of this era.
- Eek! The Cat
- Exo Squad
- Extreme Ghostbusters
- Family Dog
- Family Guy: Got its start at the end of this era, though it is not typically associated with it.
- Felix the Cat: Specifically, the character got two revivals – one good, the other very contested. The first one was Felix the Cat: The Movie, which was based on Felix's flanderized portrayal from The Dark Age of Animation. The second one was the surprisingly good The Twisted Tales of Felix the Cat, which basically brought Felix back to his roots and the series even threw in a bit of Max Fleischer surreality into the mix, though it suffered from an immense Troubled Production that helped cancel it.
- Filmation's Ghostbusters
- The Flintstone Kids
- Freakazoid!
- The Fruitties
- Futurama: Got its start at the end of this era.
- Galaxy High
- Garfield and Friends
- Gargoyles
- G.I. Joe: A Real American Hero
- The Goddamn George Liquor Program: A pioneering web cartoon series from 1997, being the first cartoon made in Adobe Flash, and the first to be made exclusively for the internet
- Goof Troop
- Gravedale High: A long-lost 1990 Hanna-Barbera cartoon starring Rick Moranis, who had a skyrocketing career at the time this came out.
- Guru Guru Town Hanamaru Kun
- HBO Storybook Musicals
- Heathcliff & the Catillac Cats
- Heckle and Jeckle: In The New Adventures of Mighty Mouse and Heckle & Jeckle.
- Hey Arnold!
- Histeria!: The last of the shows helmed by the Tiny Toons/Animaniacs crew that had been together since 13 Ghosts.
- Hot Rod Dogs and Cool Car Cats
- Hugo the Movie Star a.k.a. Jungle Star Hugo.
- Inhumanoids
- Invasion America
- Jem
- Johnny Bravo
- Jonny Quest: The Real Adventures: The last cartoon produced by Hanna-Barbera as an independent studio.
- KaBlam!: The host segments are the first cartoon to blatantly use digital compositing.
- King of the Hill: Got its start near the end of this era.
- Life with Louie
- The Legend of Zelda (1989): Aired as part of The Super Mario Bros. Super Show! on Fridays, in the place of the Mario animated segments.
- The Lionhearts
- The Little Lulu Show
- Little Monsters: More well-known than the books they were based on
- Littlest Pet Shop (1995)
- Looney Tunes in the '70s (and Onward): Post-Termite Terrace theatrical shorts from The '70s, The '80s, The '90s and in The New '10s.
- Magic Adventures of Mumfie
- The Magic School Bus: Based on the books by Joanna Cole and Bruce Degen.
- The Magical Adventures of Quasimodo
- M.A.S.K.
- Masters of the Universe
- He-Man and the Masters of the Universe (1983): The show whose massive success led to dozens of other Merchandise-Driven cartoons.
- She-Ra: Princess of Power: This Spin-Off was an early experiment in marketing action cartoons to girls as well as boys.
- Mickey Mouse Works
- Mighty Mouse: The New Adventures
- Mike, Lu & Ognote
- Millionaire Dogs
- Monster Force
- Muppet Babies (1984)
- My Little Pony
- The New Adventures of Beany and Cecil
- The New Adventures of Zorro (1997)
- Oh Yeah! Cartoons
- Patrol 03
- PB&J Otter
- Pepper Ann
- Peter Pan & the Pirates
- Pib and Pog
- Pingu: One of the most well-known Stop Motion cartoons alongside Wallace & Gromit, most notable for its bathroom episode.
- Pinky and the Brain
- The Powerpuff Girls (1998)
- Pokémon: The Series: Effectively gave anime a fighting chance in the United States. The only one that's still going strong.
- The Raccoons
- Raw Toonage: A short-lived Animated Anthology series from Disney that spawned two spinoffs.
- Rayman: The Animated Series: An extremely short lived All-CGI Cartoon series, very, very loosely based off of the limbless wonder.
- The Real Ghostbusters
- ReBoot: The first fully CGI TV series.
- Recess: One of the three flagship programs of Disney's One Saturday Morning, and the most successful and popular one. While not the first Disney animated show to not be based off a pre-existing franchise, it was the first really successful show by Disney that was animated and not based off a pre-existing franchise.
- The Ren & Stimpy Show: One of the major Western influences on The Millennium Age of Animation.
- The Red and the Blue
- Rescue Heroes
- Road Rovers
- Robotech: Yes, it was a Frankenslation of three unrelated anime series, but it was on the forefront of introducing American audiences to Japanese animation, breaking several of the conventions of U.S. animated television shows, as well as unintentionally building the popularity of importing unedited Japanese productions.
- Rocket Power: Bridges this era and the Millennium Era.
- Rocko's Modern Life
- Rolie Polie Olie
- Roughnecks: Starship Troopers Chronicles
- Rugrats: The cartoon that made the Klasky-Csupo studio famous.
- Rurouni Kenshin: The series that made samurai stories popular among anime fans from this generation.
- Sabrina: The Animated Series
- Scooby-Doo still lingered throughout this age of animation. However, the franchise seemed to be winding down... for a while.
- The 13 Ghosts of Scooby-Doo: Could also be considered the last Dark Age Scooby series.
- A Pup Named Scooby-Doo
- Scooby-Doo in Arabian Nights
- Scooby-Doo on Zombie Island: The 1998 Direct to Video film which could be very well responsible for the return of Scooby-Doo going into the 21st century.
- Scooby-Doo! and the Witch's Ghost: The 1999 Scooby Doo production which was the last one of the 20th century.
- Scooby-Doo and the Alien Invaders: The 2000 Scooby Doo film which was the last film to feature actress Mary Kay Bergman who died in 1999.
- Scooby-Doo and the Cyber Chase: Released in 2001 and the last production from Hanna-Barbera before the company folded into Warner Bros Animation (even though WBA handled the bulk of the production by this time); as well as the final production credit for William Hanna before his death in 2001.
- SilverHawks
- The Simpsons
- The Smurfs (1981)
- The Sonic the Hedgehog franchise had three…
- Adventures of Sonic the Hedgehog
- Sonic The Hedgehog: Noteworthy for being a huge favorite among Sonic fans.
- Sonic Underground
- South Park: Much like Family Guy, it got its start toward the end of this era too; also like Family Guy, its presence is widely considered to have ended the era...No it didn't...
- Space Goofs
- Spicy City: A Ralph Bakshi tv cartoon, and one of, if not the first, aimed at an adult audience, predating South Park.
- Spiral Zone
- SpongeBob SquarePants: Although this cartoon, along with South Park and the MacFarlane shows, is held up as representative of the Millennium Era and (also like them) played a big role in starting it, it began here.
- The Spooktacular New Adventures of Casper
- Street Fighter
- Superman: The Animated Series
- Super Mario Bros. (DiC):
- The Super Mario Bros. Super Show!: Featured the animated segments with live-action wraparounds, with Mario and Luigi played/voiced by Captain Lou Albano and Danny Wells, respectively.
- The Adventures of Super Mario Bros. 3: Served as a wrap-around with the second season of Captain N: The Game Master.
- Super Mario World (1991): Served as a wrap-around with the third season of Captain N: The Game Master.
- SWAT Kats
- TaleSpin
- Teenage Mutant Ninja Turtles (1987)
- Thomas & Friends: By far the longest running British example of this era.
- ThunderCats (1985)
- The Tick
- Tiny Toon Adventures
- Tom & Jerry Kids
- Toonami: Cartoon Network's original action after school block, launched in '97 near the end of the age. While showcasing such hits as ReBoot, it's also known for one of the earliest and most successful blocks to showcase anime, bringing us classics such as Sailor Moon, Mobile Suit Gundam, Dragon Ball Z, Outlaw Star, and many more, and is probably directly responsible for the rise in anime in Western audiences.
- Toxic Crusaders
- The Tracey Ullman Show: Notable for airing a series of obscure shorts about a crazy, yellow family.
- Transformers:
- TUGS
- The Tune: First feature by indie legend Bill Plympton
- Twipsy
- VeggieTales: Having released its first episode on video in 1993, it is the world's very first full-length All-CGI Cartoon, surpassing both ReBoot and Toy Story by a year and two years respectively.
- Visionaries
- Wallace & Gromit
- The Wacky World of Tex Avery
- Waynehead
- Weekend Pussy Hunt: A Spin-Off of The Goddamn George Liquor Program, and likewise is one of the earliest flash cartoons ever made.
- What A Cartoon! Show: Originally known as World Premiere Toons, this anthology series launched some of this era's definitive cartoons.
- Where on Earth Is Carmen Sandiego?
- The Wild Thornberrys
- Wing Commander Academy
- Woody Woodpecker got his comeback during this time thanks to the TV series The New Woody Woodpecker Show.
- The World of David the Gnome
- The World of Peter Rabbit and Friends
- The Wuzzles
- X-Men: The Animated Series
- Yo Yogi!: This series made the long and painful decline of the Saturday Morning Cartoon irreversible.
- Akira Toriyama
- April Winchell, daughter of fellow voice actor Paul Winchell
- Arlene Klasky and Gábor Csupó of Klasky-Csupo.
- Bill Plympton
- Billy West, best known as Stimpy.
- Bruce Timm, who launched the DC Animated Universe during this era.
- Craig Bartlett, an animator for Pee-wee's Playhouse, writer for Rugrats, and creator of Hey Arnold!. Also Matt Groening's brother-in-law, interestingly enough.
- Charlie Adler, actor who voiced Buster Bunny, Chance Furlong, and both Cow and Chicken, among others.
- Chris Sanders: Worked for Disney during this time. Storyboard artist for The Rescuers Down Under, Beauty and the Beast and The Lion King. Also a screenwriter for Mulan.
- Corey Burton: Voiced many classic Disney characters in this era and continues to do so to this day.
- Cree Summer: Actress/voice actress who got her start at the beginning of this era with her role as Penny in Inspector Gadget. She's still a popular voice actress today. She also portrayed Freddy in A Different World, which aired around this time.
- David Kirschner, who was largely responsible for An American Tail and more obscure animated movies during The '90s such as Once Upon a Forest, The Pagemaster and Cats Don't Dance.
- Don Bluth - A major force behind the start of this movement whose career was ironically (and depressingly) destroyed by the resulting competition.
- Frank Welker, often considered the most prominent voice actor in both the Dark and Renaissance Ages.
- Frank Wells, president of Disney in this period.
- Fred Seibert, the producer behind World Premiere Toons and Oh Yeah! Cartoons, making him indirectly responsible for their various spin-offs.
- Genndy Tartakovsky
- Hayao Miyazaki
- Hideaki Anno
- Hiroaki Noguchi
- Hiroyuki Aoyama: Before doing The Girl Who Leapt Through Time and Summer Wars for Madhouse, he was one of the people involved in this era of animation.
- Hisao Yokobori
- Isao Takahata
- Jeffrey Katzenberg, head of Disney's film studio during this era. He left the studio during the era's peak to create Disney's worst nightmare.
- Jim Jinkins, creator of Doug, which aired in the middle of the Renaissance.
- Jim Cummings, voice actor who provided the voices of many memorable characters in this period.
- Joe Murray, creator of Rocko's Modern Life, and later Camp Lazlo.
- John Kricfalusi, the creator of The Ren & Stimpy Show
- Kath Soucie
- Kazuhide Tomonaga
- Keiko Oyamada
- Kenji Hachizaki
- Margaret Loesch, television executive who helped launch Fox Kids and green-lit both Batman: The Animated Series and X-Men: The Animated Series
- Matt Groening
- Michael Eisner, the CEO of Disney during this era
- Mike Judge
- Nelson Shin: Producer of The Transformers cartoon; director for The Transformers: The Movie and founder of South Korean studio AKOM, who worked on several of the shows present in this age.
- Nick Park, creator of Wallace & Gromit
- Nobuo Tomizawa
- Osamu Dezaki
- Pamela Segal-Aldon
- Paul Dini: writer of Batman: The Animated Series and Tiny Toon Adventures
- Paul Germain and Joe Ansolabehere, who wrote for Rugrats (the former co-created it) and Hey Arnold!, and the creators of Recess
- Peter Cullen: Considered to be the voice of Optimus Prime. Also voiced Eeyore in the Winnie the Pooh franchise.
- Peter Lord, co-founder of Aardman Aniamtions
- Richard Rich: former Disney animator and director of The Swan Princess
- Robert Alvarez: Animation director for most Hanna-Barbera cartoons during this era
- Rob Paulsen
- Saburo Hashimoto
- Sawako Miyamoto: More for her work at Walt Disney Animation Japan then TMS's Telecom unit (as she was a director there, as she did mostly key animation at Telecom), not related with Shigeru Miyamoto.
- Seth MacFarlane, who got his start writing, storyboarding, and voice acting in this era; and whose World Premiere Toon would eventually serve as one of the inspirations for Family Guy (which of course premiered at the end of the Renaissance).
- Shojiro Nishimi: Before doing Tekkonkinkreet for Studio 4°C, he was one of the people involved in this era.
- Skip Jones, animator on many of the films of this era including several of Bluth's films.
- Steven Spielberg
- Takashi Kawaguchi
- Tara Strong
- Ted Turner: His company bought the rights to MGM's pre-1986 library and Hanna-Barbera's entire library, which of course included vast amounts of old cartoons. This would prompt the launch of Cartoon Network.
- Teiichi Takiguchi
- Tom Ruegger
- Toshihiko Masuda: Chief TMS Directer of the Disney and Warner Bros. shows that TMS worked on.
- Tress MacNeille, a very prolific voice actress from this time to today.
- William Joyce: creator of Rolie Polie Olie, which aired at the end of the era
- Yoshifumi Kondo
- Yuichiro Yano
- Yukio Okazaki
- Yutaka Fujioka: Founder of TMS.
- Jerry Beck and Amid Amidi. Animation historians, writers on Art of and other animation novelty books, and bloggers of the industry-popular Cartoon Brew.
- Doug Walker, a.k.a. The Nostalgia Critic. Much of what he reviews exposes the somewhat worse aspects of some of the animation to come out of this era, and frequently includes gags referencing such cartoons.
- The Cartoon Man saga is a mostly live-action homage to animation from this era, and by extension, the previous eras by which it was influenced. One character is specifically said to have made cartoons in the 80s and 90s in-universe.
Tropes associated with this era include:
- 2D Visuals, 3D Effects: In some of the 2D movies from the late '80s and early '90s, trying to integrate computer animation with 2D animation often looked weird because CG technology wasn't advanced enough yet. See the beginning of Thumbelina.
- All Animation Is Disney: This trope runs rampant on Don Bluth's work, and it doesn't stop there.
- All-CGI Cartoon: Started in this era in both film and TV; Pixar and DreamWorks' films and TV shows such as Beast Wars, Insektors, ReBoot and South Park, would begin a trend that'd carry on through the next couple of decades.
- Before even that, PDI would spend their formative, pre-DreamWorks years in the 80's producing fully CGI bumpers for the major networks and HBO, which eventually caught on with other CGI houses of the time like Omnibus and Cranston-Csuri and helped CG to both improve in quality as the decade rolled on, and make it a viable medium for animated shorts, VFX and commercials.
- Animated Shock Comedy: First emerged in the 1990s, largely thanks to the influence of South Park itself, though it was strongly influenced by earlier cartoons like The Simpsons and Beavis And Butthead. South Park's trademark grade of vulgarity, sociopathy, and pop-culture snark became a much-imitated template in the following decade.
- Animated Adaptation: Though this does go back to the previous era, it began to happen more frequently in this era, with unlikely movies such as Beetlejuice, Ace Ventura, and Ghostbusters receiving their animated adaptations.
- Animation Age Ghetto: The Simpsons was the first sign that animation was beginning to overcome this. However, along with other adult animated series released later in the 1990s, it ended up creating a new stereotype that adult animation was tasteless and juvenile. Animated film, on the other hand, was still trapped firmly within the Ghetto, and remain so arguably to this very day.
- Animation Bump: IN ♠ SPADES. Don Bluth and the Disney Renaissance would set the standard for 2D animation in theaters from this point on; while the uptick in outsourcing for television animation, especially to the Japanese, would allow for producers to (usually) get more animation for similar cost or less than doing it domestically.
- Animesque: Shades of this started to form during this era as companies began contracting Japanese animators to work for them.
- Arch-Competitor: Don Bluth to Disney from about the release of An American Tail until All Dogs Go To Heaven was beaten by The Little Mermaid at the box office (after which Bluth stopped posing a real threat to Disney, arguably due to the departure of Steven Spielberg). Disney spent most of the 1990s without any real competition, but in 1998, with the release of Antz and The Prince Of Egypt, Dreamworks Animation became Disney's new arch-rival.
- Award-Bait Song: A staple of animated films of this era; "A Whole New World" is likely the trope codifier.
- Box Office Bomb: With Disney in its renaissance, few animated movies released by other studios stood much of a chance. Between the releases of The Land Before Time and Shrek most non-Disney animated films bombed at the box office. The only exceptions were Antz, The Prince of Egypt, Anastasia, The Rugrats Movie, Beavis and Butt-Head Do America, and South Park: Bigger, Longer & Uncut.
- Direct to Video: First era to release these
- Disneyfication
- Disney Acid Sequence
- Early-Installment Weirdness: Despite the films of this era being defined by Disney-inspired animation, Disney wouldn't come into its own Renaissance until 1989 with The Little Mermaid. Until this point, Disney was still struggling to find its identity, Don Bluth was the only prominent Disneyesque animator on the scene (having formerly worked for the studio himself), and the films of this period were mainly Darker and Edgier fare that pushed what was acceptable for children's entertainment.
- "Everybody Laughs" Ending: Was still used a lot during the '80s, though it stopped being taken seriously and played straight at some point during the '90s.
- Follow the Leader: The mentality of many of Disney's competitors during this era. Most of them failed miserably, though.
- Genre Throwback: Rampant. The Little Mermaid was designed to be just like the old Disney animated musicals, Tiny Toon Adventures and Animaniacs were inspired by the Warner Bros. cartoons in the Golden Age, Genndy Tartakovsky and Craig McCracken frequently threw back to both UPA and '50s/'60s-era Hanna-Barbera (a given as both worked for the latter company), as well as '70s/'80s anime and superhero shows (and at some points drifted into Affectionate Parody territory), John Kricfalusi threw back to Tex Avery and Bob Clampett (specifically Rod Scribner's art style), the first two shows in the DC Animated Universe took influence from the Superman Theatrical Cartoons, and so on.
- Ink-Suit Actor: Happened quite a lot in Disney's movies during this period, such as the Genie in Aladdin basically just being Robin Williams, only blue and a Reality Warper.
- Licensed Game: This trend would explode with the NES, and it continues to this day. Nearly any cartoon that has ever become famous has received a video game adaptation.
- Limited Animation: Not quite as present as in the dark age, but shades still existed throughout this era. Especially in regards to television animation.
- Live-Action Adaptation: Just as movies were being adapted into animated series, the inverse was also happening more frequently.
- Off-Model: Despite somewhat better animation, this still ran rampant throughout. The fact that everyone in North America and Japan was outsourcing did not help matters either.
- Parental Bonus
- Prime Time Cartoon
- Recycled: The Series: The Little Mermaid and Aladdin are just a few examples.
- Revival
- Saturday Morning Cartoon: Though by no means did they end during the Renaissance (there are still a few around today), this was the last animation era in which Saturday Morning Cartoons on network TV were still big contenders.
- Serkis Folk: Disney's first all CG character was the carpet from Aladdin. From there Serkis Folk would become increasingly more common, as traditional animation declined.
- Shout-Out: There were many shout outs to classic cartoons. Who Framed Roger Rabbit was one long Shout-Out.
- Spinoff Babies: Muppet Babies, likely the Trope Codifier, premiered during this age.
- Surrealism: A defining trend of this era, as animators experienced stylistic freedom not seen since the 30s and 40s, and the medium allowed them to have visuals that live-action media at the time never could. See Beavis And Butthead, Beetlejuice, and The Mask for just a few examples.
- The Movie: Many cartoon characters both old and new, such as Tom and Jerry, Felix the Cat, Looney Tunes, Goofy, the Teenage Mutant Ninja Turtles, The Transformers, The Flintstones. and others, got their own movies during this period, some of which vary in quality, but tended to usually be quite bad.
- Thick-Line Animation: Popularized by shows such as Dexter's Laboratory, this style caught on towards what many may consider the end of the renaissance. Nowadays most western television cartoons that have come out have this style if it isn't trying to look anime.
- Toilet Humor: Became increasingly more commonplace in the 1990s, especially with Gross Out Shows like The Ren & Stimpy Show.
