Podcasts about best original song

Spielberg is back with aliens — but is that enough to make Disclosure Day a real Oscar contender?This week on Oscars Outsider, we close the book on Cannes, revisit whether the Palme d'Or winner Fjord is now a serious awards player, and dig into the strange politics already forming around its Oscar narrative. Then we turn to the summer movie season: Scorsese's AI storyboarding controversy, Taylor Swift entering the Best Original Song race with Toy Story 5, whether Project Hail Mary could follow the Sinners path, and the big question behind our thumbnail: can Spielberg turn aliens into Oscar gold one more time?We also talk Netflix's shifting awards strategy, YouTuber-to-filmmaker anxiety, horror's box office boom, Obsession, The Backrooms, and why nostalgia for the 1980s may finally be losing to internet-era nostalgia.Chapters:0:00 Cold Open0:27 Welcome0:54 Cannes Capstone: Fjord Wins the Palme d'Or2:01 The Black Ball & Netflix's Awards Retreat6:53 Is Fjord the Conservatives' Oscar Movie?12:52 Scorsese Endorses an AI Company16:30 Taylor Swift's Toy Story 5 Song18:14 Project Hail Mary & the Sinners Playbook19:45 Spielberg's Disclosure Day: Best Picture Player?25:31 Obsession: The $1M Box Office Monster28:22 The YouTuber-to-Filmmaker Debate31:12 Backrooms Review34:19 The Future of Nostalgia (RIP Masters of the Universe)36:05 Tribeca & the Holding Pattern37:33 Honorary Oscars + Outro

To wrap up our episode cycle featuring "Off-Beat Musicals", Madeline, Julian and Emilio close in on a prolific songwriter whose career has notably dovetailed with film over the years: Paul Williams.  An unconventional public figure with the gift of gab and an ear for making timeless music, Williams left his mark on the 1970s, penning memorable scores for some truly unique movie musicals.  First, we cover 'Phantom of the Paradise', Brian De Palma's 1974 rock musical featuring Williams in a lead role, the nefarious music producer Swan whose deal with the devil sets the stage for a WILD mix of camp, vengeance, and glam rock swagger.  Then there's 'Bugsy Malone', Alan Parker's 1976 gangster film satire with a cast of nothing but children, yet another wild ride of fun performances and some era-specific songs.  And we wrap up the conversation with a look at 'The Muppet Movie' from 1979, one last off-beat musical featuring puppets with a witty script and several equally clever heartfelt tunes from Williams and collaborater Kenneth Ascher.  It's an earnest look back on the work of one of the more influential songsmiths of his era, with an off-beat musical performance of our own just for kicks!     We have a monthly newsletter!  Subscribe at sleeplesscinematicpod.substack.comIf you enjoy our podcast, please rate and review us on your podcast platform of choice. This really helps us find new listeners and grow!Follow us on YouTube, IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

John Carney is back in wide release for the first time since Sing Street, and Power Ballad might be the movie that finally gets him the Best Original Song nomination the Academy has owed him for a decade. We get into Paul Rudd's quietly devastating turn as a wedding singer whose song gets stolen, Nick Jonas as the surprise of the film, the structural problem that keeps it from a perfect score, and why Taylor Swift and Toy Story 5 might wreck his Oscar run anyway.Preorder Succession Planning where ever you get ebooks here:https://books2read.com/u/bzE9g9

Frozen kicks off our animation month. This 2013 musical won tons of accolades including an Academy Awards for both Best Animated Feature and Best Original Song. To this day, this cartoon is still popular with many children and adults. But can the boys let it go?      Links You can rate and review us in these places (and more, probably) Does This Still Work? - TV Podcast https://www.podchaser.com/podcasts/does-this-still-work-1088105 ‎Does This Still Work? on Apple Podcasts https://podcasts.apple.com/us/podcast/does-this-still-work/id1492570867 Creator Accountability Network creatoraccountabilitynetwork.org  

Nick looks back at the ten former Saturday Night Live cast members who have been nominated for Academy Awards, including one who actually took home an Oscar. Each story has its own twist, and not all of the nominations were for acting. Kristen Wiig earned a nod for Best Screenplay, Michael McKean was nominated for Best Original Song, and George Coe, whose background gets explained here, received a nomination for Best Short Film. Along the way, you'll hear behind-the-scenes stories and clips from the films that earned those nominations. The episode features work from Bill Murray, Eddie Murphy, Joan Cusack, Dan Aykroyd, and Robert Downey Jr., the only former cast member to win an Oscar. It's a fun and informative look at the connection between SNL and the Academy Awards. [Ep 175]

The Academy just killed a rule that's been in place since 1931 — and Sandra Hüller might be the first actor in nearly a century to benefit. We get into all three big Oscar rule changes for the 99th Academy Awards: the double-nomination rule, the new path to International Feature, and the AI ban. Plus the quiet Best Original Song tweak that might actually matter most.Then we look at what's already sticky for next year — Project Hail Mary (and why Ryan Gosling's Adam Sandler era needs to end), Michael, Devil Wears Prada 2 — and the early frame of the Best Actor race shaping up around Tom Cruise's Digger and Matt Damon's Odyssey.Greta Gerwig's Narnia just got pushed to 2027. So what's Netflix backing now?

Variety's Jazz Tangcay joins the show for the central 40 minutes of the episode to discuss The Devil Wears Prada 2's production values, including work by some rather famous artisans in Costume Design, Music, etc. Plus, she stays with us in our Spoiler Section to dish on those fitting ends and the future for this film and the franchise. NON-SPOILER REVIEW SECTION: The Production Backstory, Timeline - 2:27 Reception Numbers, our expectations vs our theatrical experiences - 8:41 General Thoughts vs Some Prevailing Reviews - 10:04 Reviewing the Performances - 12:59 JAZZ TANGCAY JOINS THE SHOW!!! - 17:00 Jazz Tangcay returns to discuss her general thoughts - 17:45 Her favorite costume designs / looks of the film - 18:21 Will the Costume Design get nominated - 23:27 Lady Gaga's Best Original Song potential - 26:06 Spoiler Warning - 31:10 SPOILER FILLED REVIEW SECTION: Our favorite cameo amongst so many great cameos - 32:16 Substance as well as style - 35:49 That Ending - 41:46 Will this be a water cooler type film?- 44:29 NY vs LA love & what that could mean for the Oscars - 47:21 Should there be a third film? - 49:51 What Jazz has coming up at Variety - 51:46 The Mikes stay on to talk Worst Scenes That Are Still Charming, Dammit - 54:52 THE KAT scene - 1:01:14 Final Grades, Final Thoughts - 1:03:40 OUTRO: Our Words of Wisdom Today are to follow Jazz Tangcay's work on Variety: https://variety.com/author/jazz-tangcay/ Follow her on Twitter/X: https://x.com/jazzt And listen to her on Variety's Awards Circuit Podcast: https://variety.com/t/awards-circuit-podcast/ Otherwise, we hope you look forward to the end of our Oscars Year In Preview Series with Part II of our 100% Accurate Oscars Predictions for next year. Plus, we have future film study episodes on many highly anticipated films coming out this spring, as well as some potential special episodes and more special guests. https://linktr.ee/mikemikeandoscar

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Legends Podcast is heading to Korea for Netflix's most successful original release ever! Based on - holy moley - this is an original I.P.?! It's not a comic or video game? Wow! Based on an original idea by co-director Maggie Kang, this 2025 film from Sony Pictures Animation centers on an all-girl trio of K-pop superstars who also happen to be their generation's protectors from an ever-present invasion of demons from the underworld. Uniting the world in song, these K-pop demon hunters headlined the most-watched original title in Netflix history, leading to the widest release by number of theaters for a Netflix film, and the first Netflix flick to top the box office in the United States. The soundtrack was the first to have four songs in the Top Ten of the Billboard Hot 100 at the same time, and the film brought home the Golden Globe and Academy Awards for Best Original Song and Best Animated Feature. Now we're k-ashing in on the k-phenomenon that is KPop Demon Hunters!   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com    Show Music:Danger Storm by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/

This Postmodern Realities episode is a sample of of one of our Christian Research Journal Reads Podcasts. This is the audio version of the article “Pop Culture's Idea of Shame and Spirituality: A Review of ‘K-Pop Demon Hunters'”. https://www.equip.org/articles/pop-cultures-idea-of-shame-and-spirituality-a-review-of-k-pop-demon-hunters/ This was also accompanied by Postmodern Realities Episode 473: Pop Culture's Idea of Shame and Spirituality: A Review of ‘K-Pop Demon Hunters', which was an interview with the author Alexa Cramer.We chose this article specifically as the movie itself was nominated and won Best Animated feature and Best Original Song at the 2026 Oscars that occurred on Sunday March 15th, 2026.The Christian Research Journal Reads Podcast presents audio versions of Christian Research Journal articles. As the flagship publication of the Christian Research Institute, the Journal seeks to equip followers of Christ to think and to live Christianly—to exercise truth and experience life. Truth, especially essential Christian doctrine, forms the basis for how we live our lives in Christ. As the apostle Paul instructed Timothy in 1 Tim. 4:16, “Watch your life and doctrine closely. Persevere in them, because if you do, you will save both yourself and your hearers.”The Christian Research Journal enjoyed a print incarnation of almost 45 years. Now exclusively an online publication, the Journal consists of thousands of free articles. We hope that through these audio articles you are not only equipped to proclaim and defend your faith but that as a disciple you also draw closer to Christ in your walk with Him.  You can find the written version of each article that is an episode of Christian Research Journal Reads at the website of the Christian Research Institute, equip.org. All Christian Research Journal articles at equip.org are completely free and do not require a subscription and are not under a paywall.One way you can support our online articles and podcasts is by leaving us a tip. A tip is just a small amount, like $3, $5, or $10, which is the cost of a latte, lunch out, or coffee drink. To leave a tip, click here.Don't miss an episode; please subscribe to the Postmodern Realities podcast wherever you get your favorite podcasts. Please help spread the word about Postmodern Realities by giving us a rating and review when you subscribe to the podcast. The more ratings and reviews we have, the more new listeners can discover our content.

NETFLIX'S "GOLDEN" ACADEMY AWARD-WINNING ANIMATED FEATURE!! KPop Demon Hunters Full Movie Reaction Watch Along:   / thereelrejects   Download PrizePicks today at https://www.prizepicks.onelink.me/LME... & use code REJECTS to get $50 instantly when you play $5! MEETING THE KPOP DEMON HUNTERS (Interview):    • KPOP DEMON HUNTERS | Meeting the Huntrix C...   KPOP DEMON HUNTERS (2025) Greg & Tara's Reaction:    • KPOP DEMON HUNTERS (2025) LIVES UP TO THE ...   KPOP DEMON HUNTERS (2025) John & Aaron's Reaction:    • KPOP DEMON HUNTERS (2025) IS SO FREAKIN' F...   Gift Someone (Or Yourself) An RR Tee! https://shorturl.at/hekk2 Roxy Striar & Jon Maturan react to KPop Demon Hunters — the animated Netflix phenomenon that follows Rumi, Mira, and Zoey of HUNTR/X as they balance superstardom with secretly slaying demons, while facing off against Jinu and the Saja Boys plus the terrifying Gwi-Ma. The main voice cast includes Arden Cho as Rumi, May Hong as Mira, Ji-young Yoo as Zoey, Ahn Hyo-seop as Jinu, Byung Hun Lee as Gwi-Ma, Yunjin Kim as Celine, Ken Jeong as Bobby, Daniel Dae Kim as Healer, Liza Koshy as Host, and Joel Kim Booster in multiple roles. The movie just became even bigger after winning 2 Oscars at the 2026 Academy Awards: Best Animated Feature and Best Original Song for “Golden.” “Golden” also made history as the first K-pop song to win Best Original Song at the Oscars. The soundtrack has been a massive part of why this movie exploded, with the current biggest songs led by “Golden,” followed by “How It's Done,” “Your Idol,” “Soda Pop,” “What It Sounds Like,” and “Takedown.” “Golden” spent 18 weeks at No. 1 on Billboard's Global 200, while chart coverage has also highlighted the strong runs of “How It's Done,” “Your Idol,” “Soda Pop,” “What It Sounds Like,” and “Takedown.” Follow Jon Maturan: https://www.instagram.com/jonmaturan/?hl=en Follow Roxy Striar YouTube:https://www.youtube.com/@TheWhirlGirls Instagram: https://www.instagram.com/roxystriar/?hl=en Twitter:  https://twitter.com/roxystriar Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Wesley Morris is an unabashed believer in the Oscars. That they genuinely matter. Every year, he has to re-convince his friend, Sasha Weiss, the culture editor for The New York Times Magazine. This year, of course, there's the “One Battle After Another” versus “Sinners” of it all. And there's a lot there. But also, what happened to “Marty Supreme” and poor Timothée Chalamet? And is it possible that “KPop Demon Hunters” took home Best Animated Feature Film and Best Original Song and still, somehow … got robbed? Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher.  Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

The K-pop Demon Hunters won Best Original Song at the Oscars for "Gold" and when the play-off music started cutting off their speech, the singer got so angry he started jumping up and down like an angry toddler yelling "say something!" while his bandmate just stood there. Conan O'Brien also roasted Timothée Chalamet multiple times including bringing up security concerns from "the opera and ballet communities" after his controversial interview, with cameras cutting straight to him and Kylie Jenner looking mortified.See omnystudio.com/listener for privacy information.

The crews back with 98th Oscar predictions ! We talk about who we think will win, who we want to win, and blunders leading up to Hollywood's most esteemed night. The categories we discuss are as followed: Best Makeup an Hairstyling, Best Costume Design, Best Visual Effects, Best Original Song, Best Original Score , Best Sound, Best Production Design, Best Cinematography, Best Film Editing, Best Animated Feature-film, Best Casting, Best Supporting Actress, Best Supporting Actor, Best Actress in a Leading Role, Best Actor in a Leading Role, Best Director, and of course the award of the night, Best Picture!

Netflix has recently confirmed it would release a sequel to Kpop Demon Hunters, its most popular film of all time and a two-time Oscar nominee. The film's a big hit with fans all over the world, and it's nominated for two Academy Awards this Monday - Best Animated Feature and Best Original Song. Entertainment correspondent Steve Newall explained further, and discussed the other nominees ahead of tomorrow's Oscars. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Today on the show, our short run of episodes about Oscar 2026 awards contenders continues with a story about grief and growth amid the final flickers of the old West. Train Dreams – adapted from a novella by Dennis Johnson by my guests today, Greg Kwedar and Clint Bentley – takes viewers back to Idaho, 1917. The Spokane International Railroad is under construction and quiet tree logger Robert Granier, played by Joel Edgerton, is one of the labourers paving the way for it. Midway through his life, he experiences an unthinkable tragedy and finds himself plagued by the question: was it karma? Perhaps for his inaction during the brutal, racist murder of a colleague. Or maybe even for the environmental sins of felling so many trees, so much life. The planet somehow evening the score. If you've seen the film, I doubt you'll be surprised in the slightest by its four nominations at this year's Academy Awards, for Best Picture, Best Adapted Screenplay, Best Cinematography and Best Original Song. Train Dreams is a heart-wrenchingly elegy to another time, to another world and to the people we lose in life, who are sometimes ripped from us with sudden cruelty. Clint and Greg know all about the latter. As you'll hear in this episode, Clint, who directed the movie as well as co-writing it with Greg, lost both his parents in quick succession before filming. And in fact experienced what he's called “visitations” from them after their deaths, in his dreams like Robert does in Train Dreams. Support for this episode comes from Final Draft's Big Break screenwriting contest.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.To get ad-free episodes and exclusive content, join us on Patreon.Get coverage on your screenplay by visiting ScriptApart.com/coverage. Hosted on Acast. See acast.com/privacy for more information.

Oscar night is almost here, and Below the Line closes out its 2026 Oscar series with a look at the Academy Award for Best Original Song. This week, Skid is joined by returning guests Chris Molanphy, Louis Weeks, and Tom Peyton to break down the five nominees — a lineup that ranges from chart-topping K-pop to blues-infused cinematic spectacle, intimate indie folk, and even a rare operatic outlier. As the ceremony approaches on March 15, the panel weighs not only which song will win, but how each nominee functions inside its film — and what that says about the evolving relationship between movies and popular music. Among the highlights: Diane Warren's Dear Me — her 17th nomination — and a candid conversation about formula, legacy nominations, and the Academy's enduring embrace of one of its most persistent contenders Why Golden from K-Pop Demon Hunters has become the category's undeniable frontrunner — and how its structure, performance demands, and cultural impact set it apart The scope and ambition of I Lied to You from Sinners, and how its blend of blues tradition and cinematic storytelling makes it more than just a “song” An operatic curveball in Sweet Dreams of Joy from Viva Verdi! — and what happens when a classical aria sits beside pop craftsmanship Nick Cave and Bryce Dessner's Train Dreams, a meditative, image-driven piece that bridges songwriter performance and filmic atmosphere The conversation moves easily between technical craft and big-picture questions: What makes a song “original” in today's industry? Should Best Original Song reward chart success, narrative function, or musical innovation? And in an era of streaming metrics and algorithmic pop, what still feels distinctly human?

Aedín Gormley takes a look at the different trends in Best Original Song winners over the decades, ahead of this Sunday's 98th Academy Awards.

Send us Fan MailToday is the second of five episode previewing the 98th Academy Awards where I will be breaking down each and every category throughout the week. Today I am joined by Dan Pal from the PalCinema, Television, and Music newsletter to break down Best Animated Feature, Best International Feature, Best Documentary Feature, Best Original Score, and Best Original Song. I've listed the nominees below along with other films mentioned throughout the episode.Be sure to subscribe to the podcast to get all the preview episodes this week, and head over to my Substack to submit your guesses for my annual Oscar prediction contest.The nominees for each category are listed below.Best Animated Feature:ArcoElioKPop Demon HuntersLittle Amélie or the Character of RainZootopia 2Best International Feature:The Secret Agent (Brazil)It Was Just an Accident (France)Sentimental Value (Norway)Sirât (Spain)The Voice of Hind Rajab (Tunisia)Best Documentary Feature:The Alabama SolutionCome See Me in the Good LightCutting through RocksMr. Nobody against PutinThe Perfect NeighborBest Original Score:BugoniaFrankensteinHamnetOne Battle after AnotherSinnersBest Original Song:“Dear Me” from Diane Warren: Relentless“Golden” from KPop Demon Hunters“I Lied To You” from Sinners“Sweet Dreams Of Joy” from Viva Verdi!“Train Dreams” from Train DreamsOther films mentioned in this episode include:Flow directed by Gints ZilbalodisZootopia directed by Rich Moore and Byron HowardToy Story 3 directed by Lee UnkrichRango directed by Gore VerbinskiBrave directed by Brenda Chapman and Mark AndrewsFrozen directed by Jennifer Lee and Chris BuckBig Hero 6 directed by Don Hall and Chris WilliamsInside Out directed by Pete DocterCoco directed by Adrian Molina and Lee UnkrichSpider-Man: Into the Spiderverse directed by Peter Ramsey, Bob Persichetti, and Rodney RothmanGuillermo del Toro's Pinocchio directed by Guillermo del Toro and Mark GustafsonThe Boy and the Heron directed by Hayao MiyazakiDemon Slayer: Kimetsu No Yaiba The Movie: Infinity Castle directed by Haruo SotozakiChainsaw Man – The Movie: Reze Arc directed by Tatsuya YoshiharaLittle Miss Sunshine directed by Valerie Faris and Jonathan DaytonI'm Still Here directed by Walter SallesParasite directed by Bong Joon HoNavalny directed by Daniel Roher20 Days in Mariupol directed by Mstyslav ChernovAmerican Symphony directed by Matthew HeinemanStar Wars directed by George LucasJurassic Park directed by Steven SpielbergPsycho directed by Alfred HitchcockOppenheimer directed by Christopher NolanThe King's Speech directed by Tom HooperOther media mentioned in this episode include:"I Don't Want to Miss a Thing" by Diane Warren, performed by Aerosmith"How Do I Live Without You" by Diane Warren, performed by Leann Rimes or Tricia YearwoodSupport the show

As is tradition, this week we're tackling the romances of all ten Best Picture nominees, from Sinners to Train Dreams! Join in as we discuss our favorite un-nominated romances, an unusually good(ish) year for Best Original Song, transportation logistics, and a few small beers. Plus: Are recliners bad for cinema? Why does Frankenstein look like that? Do we need to bring back projectionists? And is there any romance in Bugonia after all? Make sure to rate, review, and subscribe! Next week: Him (2025)-----------------------------------------------------Key sources and links for this episode:"Oscars: Film Academy Establishes Stunt Design Award" (The Hollywood Reporter)"KPop Demon Hunters is Officially Eligible for the Oscars" (Associated Press)"Only Two Original Song Nominees to Perform Live at Oscars" (Variety)"Matt Damon Says Netflix Wants Movies to Restate the Plot 'Three or Four Times in the Dialogue' because Viewers are on 'Their Phones while They're Watching'" (Variety)"Benicio Del Toro on Bonding with Leo, Rewriting PTA, and His First Oscar Nom in Decades" (The Hollywood Reporter)"I Survived the Long Walk Treadmill Challenge" (IndieWire)Cahiers du Cinema's rave review of Ella McCay (via Letterboxd)"The Secret Agent's Kleber Mendonca Filho and Wagner Moura on Brazil's Urban Legend of the Hairy Leg" (Deadline)

2026 OSCARS SPECIAL Oh yes, it's the yearly That Song From That Movie award season special. Time for us to break down all of the Academy Award nominees for the Best Original Song category. Which one of these songs will be lofting the little gold Oscar statue above their head? The nominees are: "Dear Me" from Diane Warren: Relentless, "Golden" from KPOP Demon Hunters, "I Lied to You" from Sinners, "Train Dreams" from Train Dreams and "Sweet Dreams of Joy" from Viva Verdi!. Ben doesn't hold back any punches, Dietrich's voice is hanging on for dear life and Alex does hold back some punches .Find us on Twitter, BlueSky, Instagram & Threads: @TSFTMpodThe winner is Like, share and subscribeDid you enjoy the episode? Then please consider leaving a FIVE STAR review wherever you are listening. It means a great deal to us and makes it easier for other potential listeners to find us. Want to support us further? You can do this on Patreon from £1 ($1.50) a month: https://Patreon.com/TSFTM or via our merch store: https://TeePublic.com/user/TSFTMThank you!Timestamps:01:43 - What Have We Been Watching?04:02 - Oscars Overview05:52 - "Dear Me" By Kesha (Diane Warren!)14:17 - "Golden" by Huntr/x19:54 - "I Lied to You" By Miles Caton30:52 - "Sweet Dreams of Joy" ...from Viva Verdi!36:30 - "Train Dreams" by Nick Cave44:19 - Who is Getting Our Vote?

Sponsoreret indhold: Denne episode af Filmnørdens Hjørne præsenteres i stolt samarbejde med Sony BRAVIA. I forbindelse med Sonys kampagne 'Cinema is Coming Home' har vi opgraderet studiet med et komplet hjemmebio-setup (et 65" BRAVIA 8 II OLED-TV og en BRAVIA Theatre Bar 6 soundbar). Vi prøvekører udstyret i dybden længere inde i episoden og tester, hvordan det kan bringe biografmørket hjem i stuen. Læs meget mere lige her: Cinema is coming home BRAVIA 8 II BRAVIA Theatre System 6 Og lad så komme i gang! Traditionen tro er Hollywood på den anden ende, og vi følger trop! For 17. gang i Filmnørdens Hjørnes historie sætter vi os bag mikrofonerne for at guide jer igennem årets Oscar-uddeling med alt, hvad dertil hører af pomp, pragt og pedantisk nørderi. Lad os bare være ærlige: Dette er muligvis vores længste episode nogensinde. Vi rammer vanvittige 5 timer og 48 minutter! Hvis du rent faktisk lytter hele denne ørkenvandring igennem, har du tydeligvis ikke nok at lave i din hverdag, men vi elsker dig for det. I år har redaktør Casper Christensen allieret sig med Hjørnets egen "Oscar Rain Man" Lars B. Frahm, Oscar-visdomskilden Nikolaj Tarp og vores in-house Oscar-gambler Jannik Hansen. Sammen tygger vi os igennem alle 24 kategorier (inklusive den spritnye casting-kategori!), diskuterer om 16 nomineringer til 'Sinners' er en genistreg eller rent vanvid, og debatterer om Oscar helt har mistet folkeligheden i overgangen fra de store blockbusters til arthouse. Som et særligt pusterum i marathonet har vi også et eksklusivt interview med Lian-Cho Han, medinstruktøren bag den Oscar-nominerede animationsfilm 'Little Amelie', der fortæller om den vilde rejse fra kældermørket til den røde løber. Og så skal I glæde jer til at stifte bekendtskab med aftenens nye maskinelle, men utroligt kyniske MC: AI-værten Dallin. Vi har skabt et sirligt kapitel-overblik herunder, så din podcast-app lader dig springe præcis derhen, hvor du vil. Rigtig god fornøjelse, og husk at strække benene undervejs! Tidskoder / Kapitler: 00:00:00 - Sony BRAVIA pre-roll & Velkomst i lobbyen 00:17:12 - Info om årets show (Conan O'Brien, de nye Akademiregler og The Dolby Theater) 00:24:49 - De danske Oscar-håb 00:32:28 - Sony BRAVIA mid-roll 00:34:02 - Mød vores nye (og trætte) AI-vært, Dallin 00:38:46 - Gennemgang af kategorier starter: Best Animated Short Film 00:52:49 - Best Live Action Short Film 01:03:03 - Best Documentary Short Film 01:18:21 - Best Makeup and Hairstyling 01:28:55 - Best Sound 01:34:14 - Sponsor-indslag: Sony BRAVIA-indslag01:43:43 - Scientific and Technical Awards (Janniks nørde-hjørne) 01:52:17 - Årets Æres-Oscars (Tom Cruise m.fl.) 01:59:01 - The Razzies: Årets værste film 02:03:26 - Best Costume Design 02:11:30 - Best Production Design 02:19:08 - Best Visual Effects 02:27:11 - Best Original Song 02:38:16 - Best Original Score 02:50:13 - Den NYE kategori: Best Casting 03:07:18 - Interview: Lian-Cho Han (Instruktør, 'Little Amelie')03:15:57 - Spørg Oscarhjørnet: Lytterspørgsmål & 'Sinners'-hypen 03:40:15 - Best Documentary Feature 03:49:47 - Best International Feature Film 04:00:39 - Best Cinematography 04:08:21 - Best Film Editing 04:18:10 - Best Actor in a Supporting Role 04:25:00 - Best Actress in a Supporting Role 04:32:43 - Fra Titanic til Arthouse: Har Oscar mistet folkeligheden? (Og flytningen til YouTube) 04:46:49 - Lytterspørgsmål: Hvad er "Oscar Bait" i 2026? 04:54:18 - Best Original Screenplay 05:01:49 - Best Adapted Screenplay 05:06:34 - Best Actor in a Leading Role 05:13:20 - Best Actress in a Leading Role 05:19:16 - Best Directing 05:26:10 - Best Picture (Og de endelige overraskelser) 05:41:00 - Afslutning & Oscar-natten på Hjørnet 05:45:13 - Dallins post-credit undskyldning Værter & Gæster: Vært: Casper Christensen Medværter: Jannik Hansen, Lars B. Frahm, Nikolaj Tarp Gæst: Lian-Cho Han MC: Dallin (AI) Støt Filmnørdens Hjørne (Value-for-Value): Denne episode er gratis, men kræver blod, sved, tårer og litervis af kaffe at producere. Hvis du elsker det vi laver og vil støtte podcasten direkte, kan du gøre det via vores hjemmeside under menupunktet "Støt". Hver en skilling går til at holde serverne kørende og nørderiet i live: https://filmnoerden.dk/stoet Podcast-anbefaling (Podroll): Mangler du endnu mere Oscar-nørderi i dit liv? Så tjek podcasten Oscar Redux ud! https://pod.link/1797552261 Her går Nikolaj Tarp og Nikolaj Schulz tilbage i tiden for at second-guesse og omdele de historiske Oscar-priser år for år. En absolut "must-listen" for historiske filmnørder! Med venlig hilsen, Casper, Jannik, Lars & Nikolaj

Netflix's “KPop Demon Hunters” wasn't just one of the biggest movies of 2025; it was Netflix's most popular title — movie or show — ever. Four songs from the film's soundtrack also simultaneously cracked the top 10 on Billboard's Hot 100 list, a first for a movie soundtrack. Now, it's up for two Oscars at this year's Academy Awards: Best Animated Feature and Best Original Song.  For directors Chris Appelhans and Maggie Kang, the megahit is also a celebration of Korean culture. Kara, Chris and Maggie talk about the ways Maggie drew on her Korean heritage to expand the scope of the film, why the hit song “Golden” was so hard to write, and how they were able to make an original film at a time when studios are mostly looking to recycle IP. They also talk about the future of the animation industry amid the threat of A.I. and what's in store for the much anticipated “KPop Demon Hunters” sequel.  Questions? Comments? Email us at on@voxmedia.com or find us on YouTube, Instagram, TikTok, Threads, and Bluesky @onwithkaraswisher. Learn more about your ad choices. Visit podcastchoices.com/adchoices

"Kpop Demon Hunters" is an American animated musical fantasy film co-written and directed by Maggie Kang and Chris Appelhans, produced by Sony Pictures Animation for Netflix and animated by Sony Pictures Imageworks. Premiering on Netflix over the summer, it became the platform's most-watched original film ever, with over 500 million views, and achieved historic box-office success during limited theatrical runs. The soundtrack broke records with four simultaneous top-ten hits on the Billboard Hot 100 and earned double platinum certification. Widely acclaimed, the film won major honors including Best Animated Feature and Best Original Song at the Critics' Choice and Golden Globe Awards, received Academy Award nominations in the same categories, and won a Grammy for the Oscar-nominated song, "Golden." Singers Ejae, Audrey Nuna, Rei Ami, and filmmakers Kang and Appelhans were all kind enough to spend some time speaking with us about their work on the film, which you can listen to below. Please be sure to check out the film, which is now available to stream on Netflix and is up for your consideration for Best Animated Feature and Best Original Song at the 98th Academy Awards. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Oscars Month takes a vibrant, neon-soaked turn this week on We Drink & We Watch Things as we dive into the year's most unexpected Academy darling: the animated powerhouse KPop Demon Hunters. It's not every year that a high-octane, genre-bending musical makes it into the Best Picture conversation, but this film has danced its way into the hearts of critics and audiences alike. Grab our Darkness & Harmony cocktail - extra points if it has sparkles - and get ready for an episode that is as high-energy as a sold-out stadium tour.This week, we admire the stunning, boundary-pushing animation style that blends hyper-kinetic action with the sleek aesthetic of the music industry. We talk about the infectious, chart-topping original songs that have made this a frontrunner for Best Original Song, and how the film manages to balance its flashy demon-slaying sequences with a surprisingly grounded story about sisterhood and the pressures of fame. We also weigh the odds of its Oscar success, discussing whether the Academy is finally ready to reward a film that feels so unapologetically modern and fun.Whether you're following Mackenzie's Oscar tracker or just want to hear us rave about the coolest animated film in years, this is the episode for you. We're blending our excitement for the film's creativity with our usual casual banter, proving that even a quest for the golden statue can have a killer beat.This episode VIDEO is live on YouTube AND Spotify!Follow us on Instagram to get ep sneak peaks and find out what's coming next. DM us what you want to hear about next or email us at wedrinkandwewatchthingspod@gmail.com.

Send a textToday I'm replaying an episode from earlier this winter, my interview with Christine La Monte, producer of two recent documentaries, Ai Weiwei's Turandot and the Oscar shortlisted Viva Verdi!. Viva Verdi! is nominated for Best Original Song at the 98th Academy Awards and the film is available to stream on jolt.film today!Books mentioned in this episode include:The Paper Palace by Miranda Cowley HellerCry to Heaven by Anne RiceTomorrow, and Tomorrow, and Tomorrow by Gabrielle ZevinThe Crying Heart Tattoo by David Lozell MartinThe Samurai's Garden by Gail TsukiyamaThe Goldfinch by Donna TarttLet's Call the Whole Thing Off directed by Elizabeth GuestFilms and TV shows mentioned in this episode include:Ai Weiwei's Turandot directed by Maxim DereviankoViva Verdi! directed by Yvo nne RussoLa Traviata directed by Franco ZeffirelliChildren of the River directed by Federico Rodelli (forthcoming)The Godfather directed by Francis Ford CoppolaBlack Orpheus directed by Marcel CamusOnce Upon a Time in America directed by Sergio LeoneDances With Wolves directed by Kevin CostnerHoliday directed by George CukorThe Night Manager (series)Something's Gotta Give directed by Nancy MeyersThe Girl with the Dragon Tattoo (series)Other things mentioned in this episode:“Sweet Dreams of Joy“ by Nicholas PikeFollow Viva Verdi! on Instagram @vivaverdithefilm and check out the websites for both films at aiweiweisturandotfilm.com and vivaverdithefilm.com. And don't forget to check out Viva Verdi! on jolt.film ahead of the 98th Academy Awards.Support the show

Singer, songwriter, and producer Raphael Saadiq is known for his work as a member of Tony! Toni! Toné!, as a solo artist, and for his work producing and writing for artists like Solange, D'Angelo, Beyoncé, John Legend, and more. “I Lied to You,” the song he co-wrote for the film ‘Sinners,' has been nominated for an Oscar for Best Original Song. He spoke with Tonya Mosley. Also, we remember jazz clarinetist and tenor saxophonist Ken Peplowski. His playing was influenced by classical techniques, swing and traditional jazz.  Justin Chang reviews Emerald Fennell's ‘Wuthering Heights.'Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

"Train Dreams" has gone on to become the most celebrated film from the 2025 Sundance Film Festival, with praise going to Bentley's direction, Edgerton's performance, and the cinematography. Among its accolades, the film was named as one of the top ten films of 2025 by both the National Board of Review and the American Film Institute. For his performance, Edgerton was nominated for a Golden Globe Award. It received four nominations at the 98th Academy Awards, including Best Picture, Best Adapted Screenplay, Best Original Song, and Best Cinematography. Brazilian cinematographer Adolpho Veloso has won the Critics' Choice Award for Best Cinematography and has been nominated for the ASC, BAFTA, Spirit Award, and Oscar for Best Cinematography, becoming the first Brazilian to achieve the latter. Veloso was kind enough to spend some time speaking with us about his work on the film, the experience of awards season, his Brazilian roots, and more, which you can listen to below. Please be sure to check out the film, which is now available to stream on Netflix and is up for your consideration for this year's Academy Awards in all eligible categories, including Best Cinematography. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Singer, songwriter, and producer Raphael Saadiq is known for his work as a member of Tony! Toni! Toné!, as a solo artist, and for his work producing and writing for artists like Solange, D'Angelo, Beyoncé, John Legend, and more. “I Lied to You,” the song he co-wrote for the film ‘Sinners,' has been nominated for an Oscar for Best Original Song. He spoke with Tonya Mosley. Also, we remember jazz clarinetist and tenor saxophonist Ken Peplowski. His playing was influenced by classical techniques, swing and traditional jazz.  Justin Chang reviews Emerald Fennell's ‘Wuthering Heights.'Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Send us a textCupid's calling, and we're answering with a Valentine's Day double feature! This week, we cozy up to review Netflix's new romantic flick People You Meet on Vacation and revisit the hilarious and heartfelt 2007 classic Knocked Up.We chat all things romance, from awkward first dates to why “movie and dinner” will forever reign as the ultimate Valentine's Day combo. Plus, we wrap up with a fun draft segment — picking our favorite past Oscar winners for Best Costume Design and Best Original Song.Grab your popcorn, pour some wine, and let's make it a movie date!

Lights, music, and awards-season drama—this episode of The Music in Me is all about the songs that stole the spotlight at the 2026 Golden Globes and Oscars! I'm talking about powerful, emotional, and unforgettable tracks, from “Golden” from KPop Demon Hunters (my personal favorite!) to quiet, reflective gems like “Train Dreams” and “Sweet Dreams of Joy”. We break down each nominee, celebrate legendary songwriters like Diane Warren, and share all my excited, passionate, and sometimes dramatic reactions to this year's lineup. Plus, I share my thoughts on the snubs—yes, Wicked: For Good didn't get a single Oscar nomination, and I'm still upset about it! If you love music, movies, and the thrill of awards season as much as I do, this episode is for you. Grab your popcorn, your imaginary red carpet invite, and let's dive into the songs that made 2026 awards season unforgettable.GOLDEN GLOBE SONG NOMINEES:Golden from KPop Demon Hunters (Winner)Dream as One from Avatar: Fire & AshI Lied to You from SinnersNo Place Like Home from Wicked: For GoodThe Girl in the Bubble from Wicked: For GoodTrain Dreams from Train DreamsOSCAR SONG NOMINEES:Golden from KPop Demon HuntersI Lied to You from SinnersDear Me by Diane Warren from RelentlessTrain Dreams from Train DreamsSweet Dreams of Joy from Viva Verdi!What did you think of this episode? Support the showKeep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

Every year in Hollywood there's one golden statue that matters more than any other. Not Best Actor. Not Best Director. Not even Best Original Song. The big one. Best Picture. Because this isn't about one performance or one moment, this is the award that crowns an entire film the cast, the crew, the story, the music, the cinematography the whole cinematic machine working in perfect sync.We hear about the films that won big at the Oscars with Lisa Cannon, Head of Studio, DMG Media.

fWotD Episode 3175: Shine (Gwen Stefani song) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Tuesday, 13 January 2026, is Shine (Gwen Stefani song)."Shine" is a song written and recorded by American singer Gwen Stefani featuring Pharrell Williams, who also produced the song. Originally intended for Stefani's band No Doubt, it is a reggae pop and ska song that is featured in the 2014 live-action/animated film Paddington in the United States and Canada. The lyrics revolve around the lead character Paddington Bear's journey to London and his identity crisis. Stefani initially disagreed with Williams's choice to use direct references to Paddington in the lyrics, but praised this decision after watching the film with her children. She reported that her involvement with the recording was inspired by her then-husband Gavin Rossdale and her children's connection to England.A lyric video for the track was released on January 13, 2015, on The Weinstein Company's YouTube channel, and included on the DVD and Blu-ray releases of the film. The song was featured in the American trailer for the movie, and made available as a promotional CD as a result of its submission for the Academy Award for Best Original Song. Although a low-quality version leaked on December 31, 2014, a full version of the recording was not released for public consumption. It was omitted from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like (2016). Critical response to "Shine" was mixed; some praised Stefani and Williams's chemistry, while others compared it negatively to their previous collaborations. Commentators frequently likened it to Williams's 2013 single "Happy" and Stefani's 2014 song "Spark the Fire".This recording reflects the Wikipedia text as of 00:54 UTC on Tuesday, 13 January 2026.For the full current version of the article, see Shine (Gwen Stefani song) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Russell.

Today's episode includes: •   KPop Demon Hunters wins Best Animated Feature and Best Original Song at the 83rd Golden Globe Awards •   Elio and KPop Demon Hunters lead the 53rd Annie Awards with 10 nominations each •   Wish Dragon 2 to be released in Summer 2027, but Sony and Netflix are currently not involved •   Jack Black reveals that he rejected the role of Syndrome from The Incredibles and regrets it •   Steve Whitmire received backlash for a blog about The Muppets and how they're currently handled

Episode Notes S7E1 -- Join us as we chat with the legendary Music legend, Oscar, Grammy, Emmy, and Golden Globe Nominee Carol Connors. She'll be in the house telling tales from The Teddy Bears to her newest Novel ELVIS, ROCKY AND ME: THE CAROL CONNORS STORY. Carol's first hit record “TO KNOW HIM IS TO LOVE HIM” from the genius of Rock n Roll, the infamous Phil Spector who wrote the song for Carol's voice. Connors was and will always be the voice of The Teddy Bears. Connors co-wrote the ROCKY theme song “GONNA FLY NOW” & what is one the of the greatest love songs of our time “With You I'm Born Again” as recorded by Billy Preston & Syreeta. Another music highlight in Conners career was the hit song “Little Cobra” which soared to #2 on the billboard charts and is the reason the Cobra Muscle car became a big seller. Connors wrote songs for Disney's Oscar Nominated animated feature Walt Disney's “The Rescuers” and wrote most of the lyrics and music for the film. Carol is a current Grammy Nominee for the audio book “Elvis, Rocky and Me: The Carol Connors Story.” HELPFUL LINKS: VETERANS: https://www.va.gov/.../mental-health/suicide-prevention/ ADDICTION: https://lp.recoverycentersofamerica.com/.../continuum-of.../ Due you know someone that has lost their lives due to addiction? Or even someone that has made a full recovery? Reach out to Johnny Whitaker so they can help to celebrate the lives lost/ lives recovered at overdoseawareness0831@gmail.com ___________________________________________ Follow our guest https://en.wikipedia.org/wiki/Carol_Connors_(singer) https://www.imdb.com/name/nm0175486/ https://www.carolconnors.com/main.htm ______________________________ Toking with the Dead: https://www.stilltoking.com/ ————————————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 ————————————— Produced by Leo Pond and The Dorkening Podcast Network MORE ABOUT THE GUEST: Carol Connors (born Annette Kleinbard, November 13, 1941) is an American singer-songwriter. She is perhaps best known as the lead vocalist on the Teddy Bears' single, "To Know Him Is To Love Him", which was written by her bandmate Phil Spector. Her best known contribution as songwriter is co-writing the song "Gonna Fly Now" for the 1976 movie Rocky, for which she shared an Academy Award nomination for Best Original Song with lyricist Ayn Robbins and composer Bill Conti. The audiobook version of her auto-biography, co-written with Steve Bergsman, Elvis, Rocky and Me: The Carol Connors Story narrated by Kathy Garver received a Grammy nomination for the 68th Grammy Awards in the Best Audiobook Category. Connors produced the audiobook version with David Longoria.

Singer, songwriter, guitar and piano player who has been nominated for a GRAMMY® Award for Best Audio Book, Narration, and Storytelling Recording for her memoir, “Elvis, Rocky, & Me,” and next year it will come out on film as a documentary. She is perhaps best known as the lead vocalist on the Teddy Bears' single, “To Know Him Is To Love Him,” which was written by her bandmate, the legendary producer Phil Spector. Her best-known contribution as a songwriter is co-writing the song “Gonna Fly Now” for the 1976 movie Rocky, for which she shared an Academy Award nomination for Best Original Song. Also among her songwriting credits is the 1980 Billy Preston & Syreeta duet, “With You I'm Born Again,” which reached number four on the Billboard Hot 100. She also wrote and performed songs for several films and has a star on the Palm Springs Walk of Stars.

Singer and Star of SIX on Broadway, Kelsie Watts, joins Nicole Barlow and Ryan Pak to discuss the soundtrack to the 2017 Michael Gracey film, The Greatest Showman. The soundtrack spent 28 weeks at #1 on the Billboard charts, and the song "This is Me" won the Best Original Song award at the Golden Globes and was nominated for Best Original Song at the Oscars. The songwriting team of Pasek/Paul (La La Land, Dear Evan Hansen) wrote all the songs for the film. 00:00:00 - 00:07:45 Introducing Kelsie Watts! 00:07:46 - 00:09:45 Why Did Kelsie Pick The Greatest Showman and Facts About the Soundtrack 00:09:46 - 00:12:30 The Song of Pasek/Paul/ Hugh Jackman's Reaction to Kelsie's Cover of "Never Enough" 00:12:31 - 00:19:00 Preparing for a Musical 00:19:01 - 00:20:10 The Versatile Hugh Jackman 00:20:11 - 00:25:15 What Does Kelsie Think of Everyone's Singing in the Film? 00:25:16 - 00:26:30 The Golden Globe Winning and Oscar Nominated "This is Me" 00:26:31 - 00:29:15 A Greatest Showman Musical? 00:29:16 - 00:33:29 Kelsie's Future Plans and Goodbyes Kelsie' single "Fit In" is available in it's original studio form, acoustic, or remixed by SMASHKASH X MIXMASTERDAVID. She's featured on the Manafest song "Take You Higher", and just released the song "Christmas in New York", just in time for the holidays. For more information about Kelsie Watts: Website TikTok Instagram Learn more about your ad choices. Visit megaphone.fm/adchoices

How do we nurture and protect the most human endeavors of creation and discovery?  Zachary Levi joins us to discuss calling, technology, and a creative Ark in Austin. We move from one's life mission to concrete plans for land and film incentives. The central question of our time is whether we ride the AI tsunami or get swept under it. Highlights00:00 Opening and Zachary Levi's journey to Austin05:53 Calling vs discovery13:48 Build the ark and fix Hollywood25:13 Community, work, and purpose30:20 Why Bastrop for Wyldwood38:05 Austin's energy and first principles46:57 Film incentives and ROI54:00 AI reshapes studio vs creatives1:10:40 Purpose through creation and discovery1:19:07 What's Next Austin?Guest BioZACHARY LEVI has proven himself a triple threat- he is an accomplished actor, singer, and dancer that was displayed with his Tony- nominated performance for “Best Leading Actor in a Musical” in the critically praised Broadway production, SHE LOVES ME. In August 2024, Zachary starred in HAROLD & THE PURPLE CRAYON for Sony, based on the wildly popular children's book written by Crockett Johnson. He will next star in both MGM/Amazon's SARAH'S OIL as well as Joe Carnahan's real-life survivor thriller, NOT WITHOUT HOPE. Zac is also set to appear in HOTEL TEHRAN, a new thriller from writer-director, Guy Moshe. In March 2023, Levi reprised his role as Shazam! in the Warner Bros. DC franchise, SHAZAM! FURY OF THE GODS. Directed by David F. Sandberg, this was the follow-up to the first installment, SHAZAM! which held the #1 spot at the box office for weeks following its April 2019 release. In 2021, Zachary portrayed iconic NFL MVP and Hall of Fame quarterback, Kurt Warner in AMERICAN UNDERDOG for Lionsgate directed by Andrew and Jon Erwin. Zac will return with the Erwin brothers for another Lionsgate film THE UNBREAKABLE BOY, based on the true story of the most inspiring boy who touched and changed the lives of those around him in theaters February 21, 2025. In a fan favorite recurring role, Levi took home a SAG Award for “Best Ensemble in a Comedy Series” for season two and three of Amazon Studios' Emmy winning series, THE MARVELOUS MRS. MAISEL. The first season of the show won six Primetime Emmys, two Golden Globes, as well as a Peabody Award and two Critics' Choice Awards. The second season won one Golden Globe, three Screen Actor Guild Awards, one PGA Award, two Broadcast Film Critics Association Awards, one Critics Choice TV Award, and TV Program of the Year at the AFI Awards.Additional previous film credits include: CHICKEN RUN: DAWN OF THE NUGGET; TEDDY'S CHRISTMAS; APOLLO 10 ½: A SPACE AGE CHILDHOOD; THOR: THE DARK WORLD; ALVIN & THE CHIPMUNKS: THE SQUEAKQUEL; and TANGLED. The song “I See the Light,” written for TANGLED (performed by Levi & Mandy Moore) was nominated that year for an Oscar and Golden Globe for Best Original Song. The pair performed the duet at the 83rd Annual Academy Awards ceremony. “I See the Light” also won the Grammy Award for “Best Song Written for Visual Media” at the 54th Grammy Awards. Levi is best known for his fan favorite performance as Chuck Bartowski in the hit NBC series, CHUCK. Other previous TV credits include the Netflix mini-series ALIAS GRACE & HEROES REBORN. In June 2022, Levi made his author debut with his memoir, RADICAL LOVE: LEARNING TO ACCEPT YOURSELF AND OTHERS, which shares his emotional journey through a lifetime of crippling anxiety and depression to find joy, gratitude, and ultimate purpose Guest LinksZachary Levi: X, Instagram Wyldwood -------------------Austin Next Links: Website, X/Twitter, YouTube, LinkedInEcosystem Metacognition Substack

Lot's of talking about pu$$y's, c*nt's, labia minora's AND majora's, butthole's, and Hank Hill wants a 3-some after breaking up with Peggy.? ⁠FIND ALL THINGS STICKY DOLL HERE⁠(0:00) Show Intro(5:32) Moxee Correspondent P.A.L.™ call(30:17) Karla (Labia Minora) call(43:31) Hank Hill call(48:32) M.A.M.™ call★ STICKY DOLL is a Industrial Punk Band and Funny as Fuck Podcasters "If this video offends you please go to church after you watch it." -El Sancho, STICKY DOLL⁠FIND ALL THINGS STICKY DOLL HERE⁠⁠⁠⁠All STICKY DOLL Music is 100% BASS & DRUMS ONLY - No Guitar.★ ⁠Official Music and Merch⁠★ ⁠Youtube Channel⁠★ Follow Us on Facebook⁠ AND listen to our Podcast "In Bed w/ STICKY DOLL" on YouTube Music, Spotify, Apple, or wherever YOU listen!FEATURED STICKY DOLL SONG ⁠"⁠⁠⁠⁠Snotty Little Cunt⁠⁠"⁠ Billie Eilish Pirate Baird O'Connell (/ˈaɪlɪʃ/ EYE-lish;[1] born December 18, 2001) is an American singer-songwriter and musician. Eilish first gained public attention in 2015 with her debut single "Ocean Eyes", written and produced by her brother Finneas O'Connell. In 2017, she released her debut EP, Don't Smile at Me, which was commercially successful, in various countries, including the US, UK, and Australia. Eilish's debut studio album, When We All Fall Asleep, Where Do We Go? (2019), debuted atop the US Billboard 200 and UK Albums Chart and was one of the year's best-selling albums. Its single "Bad Guy" became the first by an artist born in the 21st century to top the US Billboard Hot 100 and be certified Diamond by the Recording Industry Association of America (RIAA). The next year, Eilish performed the theme song "No Time to Die" for the James Bond film No Time to Die, which topped the UK Singles Chart and won the Academy Award for Best Original Song in 2022. Eilish's second studio album, Happier Than Ever (2021), topped the charts in multiple countries. Its singles "My Future", "Therefore I Am", "Happier Than Ever", and "Your Power", each peaked within the top ten in the US and UK. She co-wrote and performed "What Was I Made For?" for the fantasy film Barbie (2023), which became her second number-one single in the UK and earned her a second Academy Award. ⁠FIND ALL THINGS STICKY DOLL HERE⁠#punk #comedy #podcast #cringe #cartoon #cringecomedy

Glen Hansard and Markéta Irglová of The Swell Season feel no need to write every day. They both wait patiently for a spark. "I have no worries if I don't write anything. I'm available 24/7," Hansard says. "I never noodle, never rehearse, never just play around." For Irglová, she feels a current. "There's something calling me to the piano. There's a feeling. I plant the seed, then let it ruminate by doing something else like taking a walk," she says. Both can write most anywhere. Hansard wrote his song "Her Mercy" while waiting at a baggage claim in New Zealand. Irglová only needs space: she can't write in a busy place, which is why Iceland, where she lives, is ideal.The Swell Season won the 2007 Academy Award for Best Original Song for "Falling Slowly". Their latest album is Forward.

Based upon the comic strip created in 1931 by Chester Gould, this eye-popping live-action adaptation was long planned by Oscar-winning director Warren Beatty (Reds, Heaven Can Wait) who also elected to star as the titular square-jawwed crime fighter sporting a bright yellow jacket.  Finally green-lit and released by Disney in the wake of the breakout success the prior year of Tim Burton's Batman, the studio was hoping that it could duplicate the mega-blockbuster success of that comic book adaptation, backing its release with loads of marketing hype AND three different soundtrack albums including an assortment of original songs written by Tony-winning songwriting stage legend Stephen Sondheim (West Side Story, Into the Woods) and performed one of its co-stars....that would be Madonna who played Breathtless Mahoney, who is also a key femme fatale for the story.  She is joined by completely STACKED cast by Paul Sorvino, Mandy Patinkin, Glenne Headley, Charlie Korsmo, Charles Durning, James Caan, Dustin Hoffman, AND Al Pacino who plays the film's main villain Big Boy Caprice. Alas the film did solid box office but did not live up to the Batman-level hype...though it DID set a record for most Oscars won by a comic book adaptation with three for Best Makeup, Best Original Song, and Best Art Direction.  This record of three Oscars would not be matched for another 28 years until it was eventually tied by another Disney comic book release, Black Panther. Host & Editor: Geoff GershonProducer: Marlene GershonSend us a texthttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/

Twenty years ago, “Al otro lado del río" became the first Spanish-language song to win an Academy Award for Best Original Song. Written by Jorge Drexler in a single day while staying in Madison, Wisconsin, and recorded in a mix of home and studio settings, the song's journey was as unexpected as its lyrics suggested. At the time, it felt like an anomaly. This year, when “El Mal” from Amelia Perez won the same award, it barely registered as unusual. That alone says something about how much can shift in 20 years—culturally, personally, globally. Here we revisit that historic night through conversations with Jorge Drexler, Ana Laan, Amanda Sidran, Ben Sidran, and the song's co-producer: me. From the song's humble origins, its Oscar nomination, and the moment when Drexler—barred from performing his own song during the ceremony—made a quiet but profound statement by singing his acceptance speech a cappella. But this episode isn't just about the song. It's about the river crossings—literal and metaphorical—that define our lives. It's about memory, and how we revise and re-tell our stories over time. It's about fate, timing, music, and how small decisions can ripple outward in ways we could never expect. It also looks at the aftermath: how the win transformed Drexler's career, leading to 15 Latin Grammys and three Song of the Year awards by 2024, and how it marked a turning point for me, prompting me to move to New York and ultimately leading to the creation of The Third Story podcast. But even in retelling the story, memory plays tricks—Jorge and I recall that night differently, highlighting a key theme of The Third Story: within every version of events, the truth always lies in the spaces between. This episode is an exploration of music, memory, and history—how a single event can reshape multiple lives in different ways. www.third-story.com www.leosidran.substack.com

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2021 conversation with Jimmy Jam & Terry Lewis. ABOUT JIMMY JAM & TERRY LEWISWith 26 Billboard #1 R&B hits and 16 Billboard #1 pop hits to their credit, Jimmy Jam and Terry Lewis are perhaps the most influential and successful songwriting and production duo in modern music history. With a total of 41 Top 10 hits in the US, Jimmy and Terry were named ASCAP Songwriters of the Year a record-breaking nine times. They are perhaps best known for their work with Janet Jackson, beginning with the Control album, which earned the duo a Grammy for Producer of the Year. Between 1986 and 1994 they scored thirteen #1 songs with Janet on either the R&B or pop chart, including “What Have You Done For Me Lately,” “Nasty,” “When I Think of You,” “Control,” “Let's Wait Awhile,” “Miss You Much,” “Rhythm Nation,” “Escapade” “Love Will Never Do (Without You),” “The Best Things in Life Are Free,” “That's the Way Love Goes,” “Any Time, Any Place,” and “Again,” which earned Jimmy, Terry, and Janet an Academy Award nomination for Best Original Song. Jimmy and Terry got their start as musicians with Morris Day and the Time, the Prince-produced band whose biggest hit was the Jam and Lewis-penned “Jerk Out.” They made the transition to a successful songwriting and production team working with the S.O.S. band, which landed a #2 R&B hit with “Just Be Good to Me.” From there, they made their mark on pop and R&B hits for decades to come. In addition to their work with Jackson, the duo wrote and produced the #1 pop singles “Human” by Human League, “Romantic” by Karyn White, “Thank God I Found You” by Mariah Carey, and the Boyz II Men singles “On Bended Knee” and “4 Seasons of Loneliness.” Additional R&B chart toppers include “Encore” by Cheryl Lynn, “Fake” by Alexander O'Neal, “Everything I Miss at Home” by Cherelle, “Sensitivity” by Ralph Tresvant, and the Johnny Gill singles “Rub You the Right Way” and “Wrap My Body Tight.” Other highlights from their catalog include New Edition's “If It Isn't Love” and “I'm Still in Love With You,” “No More Drama” by Mary J. Blige, Robert Palmer's hit pop cover of their Cherelle single “I Didn't Mean to Turn You On,” and recordings by Gladys Knight & The Pips, Barry White, Michael Jackson, Lionel Richie, Usher, Spice Girls, Aretha Franklin, Charlie Wilson, Ledisi, Sting, Elton John, Beyonce, Rihanna, Rod Stewart, Drake, Kendrick Lamar, Gwen Stefani, Willie Nelson, and many others.Always versatile, the duo has earned Grammy awards for Best R&B Album for Chaka Kahn's Funk This, Best Gospel Song for Yolanda Adams' “Be Blessed,” and Best Dance Recording for Janet Jackson's #1 pop and R&B hit “All For You.” Additional Jackson hits that were written and produced with Jam and Lewis include the Janet and Michael Jackson hit “Scream” and the #1 singles “Together Again,” “I Get Lonely,” “Doesn't Really Matter,” and the Nelly duet “Call On Me.”In total the team has earned over 100 gold, platinum, multi-platinum and diamond album certifications from the RIAA, have received more Producer of the Year Grammy nominations than anyone in history, earned the NAACP Lifetime Achievement Award, and were inducted into the Songwriters Hall of Fame. 

Hello Wholigans! On today's episode of Who's There, our weekly call-in show, we discuss an iconic Who (Alexandra D'Addario) who sat next to an iconic Them (Jennifer Hudson) at a particularly violent Knicks game. (And how vertical video ruins storytelling!!!) Moving on, we take your questions about Robby Hoffman x Gabby Windey, Mae Martin x Parvati Shallow, Katherine Heigl's Themmy sponcon deal, the 2001 Oscar for Best Original Song, the Themmiest days of the week, and a whole lot more. As always, call in at 619.WHO.THEM to leave questions, comments & concerns for a future episode of Who's There?. Want more? Get a ton of bonus content over on Patreon.com/WhoWeekly To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. This week, with the Academy Awards coming up, all of the songs featured have won the Oscar for Best Original Song. On today's episode, Andy Atherton is watching, “(I've Had) The Time Of My Life” by Bill Medley & Jennifer Warnes from 1986.   The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=4BQLE_RrTSU

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. This week, with the Academy Awards coming up, all of the songs featured have won the Oscar for Best Original Song. On today's episode, Steve Riddle is watching, “Into The West” by Annie Lennox from 2003.   The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=-RDuQfSwKfY

Six-time Grammy winner, Academy Award nominee, and Songwriters Hall of Famer Glen Ballard joins us to talk about his work with Michael Jackson, Alanis Morrisette, Dave Matthews, and many others!PART ONEPaul and Scott talk about the awesomeness that is Omnivore Recordings, dig into the Fire Aid concert, and talk about their '90s music geekery. PART TWOOur in-depth conversation with Glen BallardABOUT GLEN BALLARDFollowing an entry-level job at Elton John's Rocket Records in Los Angeles, Glen Ballard began his creative career as a staff songwriter for MCA Music Publishing. Early singles included George Strait's “You Look So Good in Love” and Jack Wagner's major hit “All I Need,” which Glen also produced. In the mid-1980s he went to work for Quincy Jones, an era when he and Siedah Garrett co-wrote Michael Jackson's triple platinum single “Man in the Mirror.” By the dawn of the 1990s, Glen had begun collaborating with Wilson Phillips, co-writing their chart topping hits “Hold On” and “You're in Love.” He went on to produce and co-write all the songs on Alanis Morissette's debut album, Jagged Little Pill, including “You Oughta Know,” “Hand in My Pocket,” “All I Really Want,” “Ironic,” “You Learn,” and “Head Over Feet.” The project earned the Album of the Year Grammy, and Glen returned to produce and co-write Alannis's sophomore release, Supposed Former Infatuation Junkie, including the hit “Thank U.” Other songs from the Glen Ballard songbook include Aerosmith's “Pink” and “Falling in Love is Hard on the Knees,” as well as the Dave Matthews Band's “I Did It” and “The Space Between.” Glen earned a Golden Globe and Academy Award nomination for Best Original Song for “Believe,” which he co-wrote with Alan Silvestri for the film The Polar Express. He has written and produced songs for Aretha Franklin, Barbra Streisand, Ringo Starr, Van Halen, Chaka Khan, Christina Aguilera, Katy Perry, and many others. In recent years, Glen has found major success in musical theater, including writing original lyrics and music for GHOST the musical, and teaming again with Alan Silvestri to write the score for the musical adaptation of Back to the Future. Glen has won six Grammy awards, and was inducted into the Songwriters Hall of Fame in 2023. 

MUSIC Trace Cyrus Says He and His Sisters Are ‘Genuinely Worried' About Billy Ray Cyrus.   Post Malone teamed up with Oreo and created his own cookie and it features the FIRST-EVER twisted creme center.            Railbird Music Festival in Lexington, Kentucky has been announced. Lainey Wilson will headline and be supported by Bailey Zimmerman, Shaboozey, Cody Jinks, Sierra Ferrell, and more.   The Songwriters Hall of Fame has announced its class of 2025. In the Performing Songwriters category those elected are: Sean "Diddy" Combs is firing back at sexual assault allegations. He's filed a $50 million lawsuit against an accuser...   Linkin Park will release an a cappella version of From Zero on Friday. If you watch the Oscars to see the live performances of the five Best Original Song nominees, be prepared for something different.   TV Oprah Winfrey is one of the biggest stars on the planet that's taking one of those GLP-1 drugs, like Ozempic and Wegovy, to lose weight.  And it made her realize what she's gotten wrong all these years about thin people.   "Duck Dynasty" will return to A&E this summer.    Will Smith slapping Chris Rock at the 2022 Oscars still lives rent free in a lot of people's minds. If you're into UFOs and don't think the government is telling us everything, you'll be very interested in the new documentary "Age of Disclosure".    MOVING ON INTO MOVIE NEWS: Billy Crystal and Meg Ryan are reuniting for "something iconic," but there's no word yet what it is.    Actor Peter Dinklage is about to become a lonely janitor who gets thrown into a vat of toxic waste!   Recently, Robert Pattinson shared how much he loves his daughter's smell and never truly understood people's fascination with the scent of a newborn baby until he had his daughter   AND FINALLY Seven St. Louis culinarians nominated for 2025 James Beard Awards Outstanding Restaurateur: Gerard Craft received his first nomination for this year's Outstanding Restaurateur with his Niche AND THAT IS YOUR CRAP ON CELEBRITIES! Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams – Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoices

MUSICTrace Cyrus Says He andHis Sisters Are ‘Genuinely Worried' About Billy Ray Cyrus.  Post Malone teamed up with Oreo and created his own cookieand it features the FIRST-EVER twisted creme center.          Railbird Music Festival in Lexington, Kentucky has been announced.Lainey Wilson will headline and be supported by Bailey Zimmerman,Shaboozey, Cody Jinks, Sierra Ferrell, and more.  The Songwriters Hall of Fame has announced its class of 2025.In the PerformingSongwriters category those elected are:Sean "Diddy"Combs is firing back at sexual assault allegations. He's filed a $50million lawsuit against an accuser... Linkin Park will release an a cappella version of FromZero on Friday.If you watch the Oscarsto see the live performances of the five Best Original Song nominees, beprepared for something different.  TVOprah Winfrey is one of the biggest stars on the planet that's taking one of those GLP-1 drugs, like Ozempic and Wegovy, to lose weight. And it made her realize what she's gotten wrong all these years about thinpeople. "Duck Dynasty"will return to A&Ethis summer.   Will Smith slappingChris Rock at the 2022 Oscars still lives rent free in a lot of people's minds.If you're into UFOs anddon't think the government is telling us everything, you'll be very interestedin the new documentary "Age of Disclosure".   MOVING ON INTO MOVIENEWS:Billy Crystal and Meg Ryan are reuniting for"something iconic," but there's no word yet what it is.  Actor Peter Dinklage isabout to become a lonely janitor who gets thrown into a vat of toxic waste!  Recently, RobertPattinson shared how much he loves his daughter's smell and never trulyunderstood people's fascination with the scent of a newborn baby until he hadhis daughter AND FINALLYSeven St. Louis culinarians nominated for 2025 James Beard AwardsOutstanding Restaurateur: Gerard Craft received his first nomination for thisyear's Outstanding Restaurateur with his NicheAND THAT IS YOUR CRAP ONCELEBRITIES!Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams – Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"The Wild Robot" had its world premiere at the 2024 Toronto International Film Festival, where it received enthusiastic reviews for its animation, story, heart, and music. An adaptation of Peter Brown's beloved, award-winning, #1 New York Times bestseller, the Dreamworks Animation film has gone on to gross over $300 million worldwide, won more Best Animated Feature prizes than any other film in 2024 and has earned multiple nominations from the Critics Choice, Golden Globes and BAFTA awards for Best Animated Feature, Best Original Score (composed by Kris Bowers) and Best Original Song ("Kiss The Sky" by Maren Morris). Bowers and Morris were kind enough to spend some time speaking with Daniel Howat and Will Mavity, respectively, about their work on the film, which you can listen to below. Please be sure to check out the film, which is now available to stream on Peacock and will be re-released in theaters this weekend from Universal Pictures. It is up for your consideration for this year's Academy Awards in all eligible categories, including Best Animated Feature, Best Original Score, and Best Original Song. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices