Podcasts about cambodians

On June 10, the Metropolitan Museum of Art in New York returned two pieces of artwork to Cambodia: an Angkor statue and a sandstone lintel. It's the latest repatriation effort by the U.S.'s premier art museum, and the third time the Met has had to give up Cambodian artifacts specifically. Matthew Campbell's The Man Who Stole The Gods: A True Story of War, Obsession, and a Global Art Conspiracy (Penguin, 2026) dives into the story of the Cambodian antiquities trade, from looted temples in the Cambodian forests, through dealers in Bangkok like Douglas Latchford, and then into museums and billionaire homes in the West. And he also digs into how this trade fell apart: How the U.S. Department of Justice and activists in Cambodia pressured dealers and museums like the Met to give this art back. Matthew is an award-winning reporter for Bloomberg Businessweek. His previous book, Dead in the Water—co-authored with Kit Chellel—was selected as a Book of the Year by The Economist, the Financial Times, and The Times. Matt has reported from more than twenty-five countries on crime, corruption, terrorism, economics, and the environment. His work has earned some of journalism's highest honors, including awards from the Gerald Loeb Foundation, the Overseas Press Club, the National Press Club, SOPA, and SABEW for both feature and investigative reporting You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Man Who Stole the Gods. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

On June 10, the Metropolitan Museum of Art in New York returned two pieces of artwork to Cambodia: an Angkor statue and a sandstone lintel. It's the latest repatriation effort by the U.S.'s premier art museum, and the third time the Met has had to give up Cambodian artifacts specifically. Matthew Campbell's The Man Who Stole The Gods: A True Story of War, Obsession, and a Global Art Conspiracy (Penguin, 2026) dives into the story of the Cambodian antiquities trade, from looted temples in the Cambodian forests, through dealers in Bangkok like Douglas Latchford, and then into museums and billionaire homes in the West. And he also digs into how this trade fell apart: How the U.S. Department of Justice and activists in Cambodia pressured dealers and museums like the Met to give this art back. Matthew is an award-winning reporter for Bloomberg Businessweek. His previous book, Dead in the Water—co-authored with Kit Chellel—was selected as a Book of the Year by The Economist, the Financial Times, and The Times. Matt has reported from more than twenty-five countries on crime, corruption, terrorism, economics, and the environment. His work has earned some of journalism's highest honors, including awards from the Gerald Loeb Foundation, the Overseas Press Club, the National Press Club, SOPA, and SABEW for both feature and investigative reporting You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Man Who Stole the Gods. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

On June 10, the Metropolitan Museum of Art in New York returned two pieces of artwork to Cambodia: an Angkor statue and a sandstone lintel. It's the latest repatriation effort by the U.S.'s premier art museum, and the third time the Met has had to give up Cambodian artifacts specifically. Matthew Campbell's The Man Who Stole The Gods: A True Story of War, Obsession, and a Global Art Conspiracy (Penguin, 2026) dives into the story of the Cambodian antiquities trade, from looted temples in the Cambodian forests, through dealers in Bangkok like Douglas Latchford, and then into museums and billionaire homes in the West. And he also digs into how this trade fell apart: How the U.S. Department of Justice and activists in Cambodia pressured dealers and museums like the Met to give this art back. Matthew is an award-winning reporter for Bloomberg Businessweek. His previous book, Dead in the Water—co-authored with Kit Chellel—was selected as a Book of the Year by The Economist, the Financial Times, and The Times. Matt has reported from more than twenty-five countries on crime, corruption, terrorism, economics, and the environment. His work has earned some of journalism's highest honors, including awards from the Gerald Loeb Foundation, the Overseas Press Club, the National Press Club, SOPA, and SABEW for both feature and investigative reporting You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Man Who Stole the Gods. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

On June 10, the Metropolitan Museum of Art in New York returned two pieces of artwork to Cambodia: an Angkor statue and a sandstone lintel. It's the latest repatriation effort by the U.S.'s premier art museum, and the third time the Met has had to give up Cambodian artifacts specifically. Matthew Campbell's The Man Who Stole The Gods: A True Story of War, Obsession, and a Global Art Conspiracy (Penguin, 2026) dives into the story of the Cambodian antiquities trade, from looted temples in the Cambodian forests, through dealers in Bangkok like Douglas Latchford, and then into museums and billionaire homes in the West. And he also digs into how this trade fell apart: How the U.S. Department of Justice and activists in Cambodia pressured dealers and museums like the Met to give this art back. Matthew is an award-winning reporter for Bloomberg Businessweek. His previous book, Dead in the Water—co-authored with Kit Chellel—was selected as a Book of the Year by The Economist, the Financial Times, and The Times. Matt has reported from more than twenty-five countries on crime, corruption, terrorism, economics, and the environment. His work has earned some of journalism's highest honors, including awards from the Gerald Loeb Foundation, the Overseas Press Club, the National Press Club, SOPA, and SABEW for both feature and investigative reporting You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Man Who Stole the Gods. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

On June 10, the Metropolitan Museum of Art in New York returned two pieces of artwork to Cambodia: an Angkor statue and a sandstone lintel. It's the latest repatriation effort by the U.S.'s premier art museum, and the third time the Met has had to give up Cambodian artifacts specifically. Matthew Campbell's The Man Who Stole The Gods: A True Story of War, Obsession, and a Global Art Conspiracy (Penguin, 2026) dives into the story of the Cambodian antiquities trade, from looted temples in the Cambodian forests, through dealers in Bangkok like Douglas Latchford, and then into museums and billionaire homes in the West. And he also digs into how this trade fell apart: How the U.S. Department of Justice and activists in Cambodia pressured dealers and museums like the Met to give this art back. Matthew is an award-winning reporter for Bloomberg Businessweek. His previous book, Dead in the Water—co-authored with Kit Chellel—was selected as a Book of the Year by The Economist, the Financial Times, and The Times. Matt has reported from more than twenty-five countries on crime, corruption, terrorism, economics, and the environment. His work has earned some of journalism's highest honors, including awards from the Gerald Loeb Foundation, the Overseas Press Club, the National Press Club, SOPA, and SABEW for both feature and investigative reporting You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Man Who Stole the Gods. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices

The US has once again imposed a naval blockade in the Strait of Hormuz, designed to prevent any ships from leaving or entering Iranian ports. Also, following two powerful earthquakes that devastated Venezuela's Caribbean coast, anger is growing in some of the hardest-hit communities over unsafe public housing. And, a look at how India's caste system persists even in diaspora communities across the globe. Plus, a conversation with Cambodian singer Chhom Nimol on how she developed her unique voice. Learn about your ad choices: dovetail.prx.org/ad-choices

Live July 12, 2026(The Yaron & Nikos Dialogues, Episode 7)Egalitarianism, Khmer Rouge & the Killing Fields of Cambodia | Yaron & Nikos DialoguesWhat Happens When Equality Becomes an Absolute? The Deadly Lessons of Pol Pot's CambodiaCould the pursuit of equality become one of history's deadliest ideas?The Khmer Rouge didn't simply commit mass murder—they attempted to erase individuality itself. Under Pol Pot, Cambodia became history's most radical experiment in egalitarianism, where intelligence, achievement, family, love, private property, and even wearing glasses could become death sentences.In this episode, Yaron Brook and Nikos Sotirakopoulos examine the philosophical roots behind one of the twentieth century's greatest atrocities. They explore how egalitarian ideals became totalitarian terror, why many Western intellectuals excused the regime, and what Cambodia still teaches us about collectivism, freedom, and human nature.The discussion also includes updates on the Yaron Brook documentary project, film recommendations, and the return of the show's music segment.Watch the full episode: https://youtube.com/live/ESzykH4naC8More from Nikos Sotirakopoulos: https://www.nikos.org/Support Nikos: https://www.youtube.com/@nikos_1717Main Topics00:00 Introduction, World Cup & documentary update10:26 Why Cambodia matters12:21 Cambodian genocide overview16:03 French colonialism & Pol Pot's influences22:18 Rise of the communist movement25:10 Vietnam War & revolutionary momentum29:04 Origins of the Khmer Rouge30:12 Mao's influence33:19 U.S. bombing & communist recruitment38:01 Radical egalitarianism becomes terror45:02 Emptying Phnom Penh49:34 S-21 prison & ideological purges54:00 Love and family under communism59:31 Starvation, terror & Vietnam's invasion1:04:28 Fate of Khmer Rouge leaders1:07:18 Western intellectuals and Cambodia1:12:31 Film recommendations1:13:51 Justice after the Khmer Rouge1:13:59 Music Review: R.E.M. – Stand1:23:20 Next Dialogue: Ronald Reagan & Ayn RandLive Audience Q&A1:18:50 Simple Minds – Don't You Forget About Me1:26:27 Brad Pitt on Atlas Shrugged & The Fountainhead1:31:23 Could Western egalitarianism lead to another Cambodia?1:34:22 China's support for the Khmer Rouge1:36:12 Germany, Argentina & defeating bad ideas1:39:39 Is cynicism rational today?1:43:21 Christian New Right vs. Democratic Socialists1:45:00 Why does collectivism demand self-sacrifice?1:48:13 The cost of anti-profit morality1:51:05 Connor McGregor—an egoist?1:54:42 Did Pol Pot use starvation as a purge?1:58:56 Was Vietnam heroic for ending the Khmer Rouge?2:00:19 Richard Wolff revisited2:02:51 Does France owe Cambodia an apology?2:04:42 World Cup red card controversy2:05:53 Did communist leaders think Pol Pot went too far?2:08:00 Why Vietnam embraces capitalism today2:09:25 Did Ayn Rand comment on Pol Pot?2:11:43 Resistance inside Cambodia2:15:35 Why didn't Mao invade Hong Kong?2:16:38 Cambodia reading recommendations2:21:18 London's Muslim neighborhoods & the documentary2:23:55 John Galt's real message2:26:56 Ayn Rand on censorship2:33:49 Why communist Poland & Cuba tolerated Christianity2:34:33 Did Tito prove socialism works?2:37:21 Lisbon event with Nikos?2:39:53 Is colonialism part of Western civilization?

警視庁本部、東京都千代田区カンボジアにある子会社の登記手続きを円滑に進めるため、現地政府職員に賄賂を渡したとして、警視庁捜査２課は７日までに、不正競争防止法違反容疑で、建設業「フジパスク」役員ら男３人と、法人としての同社を書類送検した。 Tokyo police last month sent to prosecutors papers on Fujipassc Co. and three men linked to the Japanese construction company for allegedly bribing a Cambodian government employee.

Tokyo police last month sent to prosecutors papers on Fujipassc Co. and three men linked to the Japanese construction company for allegedly bribing a Cambodian government employee.

Geoffrey Wawro, guest author, explains that in 1970, Nixon ordered an incursion into Cambodia to destroy NVA supply dumps and the Ho Chi Minh Trail extensions. While US forces captured significant materiel, the NVA simply withdrew deeper into the interior and rebuilt their supply lines shortly after the Americans left. This widening of the war triggered unprecedented domestic protests, most notably at Kent State, where National Guard troops killed four students. Despite the outcry, Nixon found support among the "Silent Majority" and working-class "hard hats" who loathed the anti-war movement. The Cambodian operation exemplified the mismatch between the US desire for a quick victory and the NVA's strategic patience. Ultimately, the incursion failed to cut the trail permanently as the NVA adapted by establishing new routes through Laos to compensate for the losses. The Vietnam War: A Military History (6)

In the headlines today, an incredibly tragic story of an 11-year-old boy slamming a pickup truck into a group of monks leaves 8 dead, then we also have some horrifying stories involving some pyromaniac attacks, also, heroin smuggling arrests have had such a negative affect on Thailand's reputation that the Prime Minister is stepping in to address it, down in Pattaya, hotels are continuing to struggle as tourism numbers refuse to climb, but finally we'll have a palate cleanser after all of that as Thailand has announced 35 destinations for visa-free travel for Thai citizens.

In April, a U.S. Army Special Forces soldier was indicted for using classified intelligence to make bets online. It comes as online prediction markets have exploded in popularity. The war in Iran and capture of Venezuelan President Nicolas Maduro have revealed suspiciously-timed bets on when an attack might happen, even the fate of world leaders. Correspondent Jon Wertheim reports on the phenomenon of betting on war and the creation of a whole new category of insider trading. Andy Bast and Jessica Kegu are the producers. A year-long investigation by 60 MINUTES examines what might be the greatest art heist in history: the theft of thousands of sacred stone, bronze and gold artifacts from religious sites across Cambodia. Correspondent Anderson Cooper reports on Douglas Latchford, the British dealer who masterminded the looting amidst genocide, civil war and political turmoil and sold to the world's wealthiest collectors and most prestigious museums. The Cambodian government has spent more than a decade tracking it all down and wants their history and heritage brought home. This is a double-length segment. Michael H. Gavshon and Nadim Roberts are the producers.

LastPass says Klue breach affected customer information, but passwords remain secure. Attackers begin exploiting Cisco Unified CM vulnerability. CISA flags actively exploited Ubiquiti and Lantronix flaws, urges rapid patching. DifyTap flaws could expose private AI conversations across tenants. Researchers find AI plugin registry let unofficial tools masquerade as trusted software. xpl0itrs launches leak site, signaling shift toward full-service cyber extortion. Ransomware attack hits Indian auto giant Bajaj Auto. U.S. presses Meta to submit AI models for national security reviews. Alleged criminal marketplace administrator extradited to the US. U.S. expands sanctions against Cambodian scam network tied to cyber fraud operations. On today's Industry Voices segment, we are joined by Mike Masciulli, Managing Director, Migration Products and Services at Semperis, discussing RC4 and AD Migration: The Break Scenarios Hiding in Your Source Domain. And a lesson in access control. Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our daily intelligence roundup, Daily Briefing, and you'll never miss a beat. And be sure to follow CyberWire Daily on LinkedIn. CyberWire Guest On today's Industry Voices segment, we are joined by Mike Masciulli, Managing Director, Migration Products and Services at Semperis, discussing RC4 and AD Migration: The Break Scenarios Hiding in Your Source Domain. If you enjoyed this conversation, check out the full interview here. Selected Reading Password manager maker LastPass says hackers stole customer support case data during Klue breach (TechCrunch) Klue says hackers stole credential from 2022 that led to customer data breaches (TechCrunch) Cisco Unified CM flaw CVE-2026-20230 now exploited in attacks (BleepingComputer) U.S. CISA adds Ubiquiti UniFi OS and Lantronix EDS5000 plugin flaws to its Known Exploited Vulnerabilities catalog (SecurityAffairs)  DifyTap: Zafran discovers how attackers can silently wiretap AI data across tenants on a platform powering 1M+ apps  (Zafran)  23 ClawHub Plugins Squat Official Org Scopes (Manifold Security)  Cyber Intel Brief: xpl0itrs Leak Site Launch (Dataminr)  Indian auto giant Bajaj Auto hit by ransomware incident (The Record)  U.S. Presses Meta to Agree to A.I. Reviews as Security Concerns Rise (NY Times) Algerian Man Extradited to US for Running Cybercrime Marketplaces (SecurityWeek) US adds sanctions against accused Cambodian scammers Prince Group (Reuters) Ushering in the Next Frontier of Quantum Innovation (The White House)  Meta Exposed Data Internally From Its Controversial Employee-Tracking Program (WIRED)  Share your feedback. What do you think about CyberWire Daily? Please take a few minutes to share your thoughts with us by completing our brief listener survey. Thank you for helping us continue to improve our show. Want to hear your company in the show? N2K CyberWire helps you reach the industry's most influential leaders and operators, while building visibility, authority, and connectivity across the cybersecurity community. Learn more at sponsor.thecyberwire.com. The CyberWire is a production of N2K Networks, your source for strategic workforce intelligence. © N2K Networks, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

Is Papaya Salad, known as Som Tum, the greatest dish on earth? In this food heavy episode, we discuss Thai cuisine, with Adam suggesting that Papaya Salad is a perfect dish. Adam also shares stories of his travels around Thailand, including working on a durian farm on the Cambodian border. If you love Thai food or if you've ever wondered just how big a durian really is, don't miss the debate! We apologize in advance to fans of cheddar cheese.Support the show and access the Lost & Found section, as Alun explains the reason why he can't eat papaya, and we discuss our favourite cuisines from around the world.Patreon: https://www.patreon.com/tripologypodcastSubmit your travel stories: https://www.tripologypodcast.com/talesofatripNeed travel insurance? We recommend SafetyWing! Click here to get started: ⁠⁠⁠https://safetywing.com/?referenceID=26035801&utm_source=26035801&utm_medium=AmbassadorRequire an onward flight? Please use this fantastic flight rental service: ⁠⁠⁠https://onwardticket.com/tripologypodcast⁠⁠⁠Discord: https://discord.gg/yccRBh8fXInstagram: https://www.instagram.com/tripologypodcast/Website: https://www.tripologypodcast.comX: https://x.com/tripologypodThank you, as always, for your continued support. It means the world.

PART 2: With the Cambodian government's ongoing crackdown on the scam industry, tens of thousands of former scammers are stranded on the streets of Phnom Penh. Are they being treated as criminals or as victims themselves of a global industry designed to extract their labor? In part 2 of our series on The Sunday Story, investigative reporter Shibani Mahtani continues the story of one Ugandan scam worker as he tries to make his way home.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Who are the workers behind the global scam industry? In Cambodia, more than 200,000 scam workers have been released from fortified compounds, where many of them had been trafficked, held against their will, and forced to work for little pay. The Cambodian government's recent crackdown has enabled reporters to get a closer look at an industry responsible for defrauding Americans of at least 20 billion dollars in 2025.But how did these workers end up in Cambodia, and what was the promise that drew them there? In this two-part series for The Sunday Story, investigative reporter Shibani Mahtani dives into the previously hidden world of the global scam industry. And she follows the story of one Ugandan man, who traveled far from home for a job that was “too good to be true.” Listen to Part 2 here.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Today, I'm joined by award-winning journalist Matthew Campbell to talk about his new book, The Man Who Stole the Gods. For decades, the Bangkok-based Brit, Douglas Latchford, bought priceless Cambodian artworks that had been looted from ancient religious sites. Some of these pieces made their way to the collections of museums as august as the Metropolitan Museum of Art in New York. In The Man Who Stole the Gods, Matthew shines a light on the looters who stole this art and the international team of sleuths who helped return these works to their native country. If you'd like to support the show, please consider beocming a patron at www.patreon.com/artofcrimepodcast. 

In this episode of Memory, Evidence, Change, host Kate speaks with Bodie Barton, a survivor of the Cambodian genocide and a 1997 graduate of Keene State College. Bodie reflects on his childhood in Cambodia, the sudden violence that shattered his family's life, and the years of displacement, hunger, and loss that followed under the Khmer Rouge regime. He shares memories of the loved ones who helped him survive, including his mother and brother, and recounts the long journey that eventually brought him to the United States as a refugee. Today, Bodie works to support others through his career in human services, drawing on his own experiences of trauma, resilience, and healing. Throughout the conversation, he offers powerful reflections on gratitude, community, and the importance of listening to one another's stories. This episode is part of our Memory Series, featuring firsthand accounts from individuals whose lives have been shaped by genocide and mass atrocity.

Welcome to Season 6, Episode 24! Our guest today is Lian Cheun, the Executive Director of the impactful group Khmer Girls in Action. A 1.5 generation refugee from Cambodia, Lian grew up in the Bay Area and has spent more than two decades organizing Cambodian and Southeast Asian youth in Long Beach. Lian along with Khmer Girls in Action turn grassroots activism into real policy change, where youth leaders became part of Long Beach's participatory budgeting process, even helping decide how public funds are spent. Lian has worked with a variety of groups like the Migrant Forum in Asia, the Movement Activist Apprenticeship Program (MAAP) at the Center for Third World Organizing (CTWO), and President Obama's Advisory Commission on Asian Americans and Pacific Islanders. Khmer Girls in Action has been and continues to be a political home as well as a safe and brave space to build youth and community power in order to win racial, gender and economic justice… and, they're led by Southeast Asian women and youth! From refugee camp to prestigious award winner Lian has had a remarkable journey. To learn more about their work, volunteer, or support them, you can visit their website kgalb.org, donate by clicking on the donate link, or follow them on instagram @investinyouthlb. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Bitcoin just cratered to a six week low below $73,000 as fresh U.S. airstrikes on Iran reignited Strait of Hormuz war fears, triggering $897 million in long liquidations and the second largest daily IBIT outflow on record at $528 million. The pain is everywhere right now. Fund manager Michael Kramer is warning a $150 billion Treasury liquidity drain over the next week could send BTC much lower, while CME finally killed the famous weekend gap by launching 24/7 futures trading. Meanwhile, Iran is calling negotiations a strategic deadlock, the CFTC made a stunning admission that the Gemini case never should have been filed, the FBI just seized a record $8 billion in Bitcoin from a Cambodian scam compound, and Paxos became the first blockchain native firm approved by the SEC to clear and settle U.S. securities on chain. Plus a single enterprise client racked up a $500 million Claude bill in 30 days with no usage limits. We are breaking down whether Bitcoin defends $72K or rolls over to new lows, what the Hormuz escalation means for risk assets, and why this could be the most consequential 24 hours of the entire cycle. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Khmer Rouge almost rid the world of Cambodian rock, but it lives on in the band Dengue Fever. Founded by two American brothers and powered by the voice of Khmer American immigrant Chhom Nimol, Dengue Fever performs songs influenced by the musicians who are mostly gone. Go see Dengue Fever live in San Francisco on June 20, 2026, at the Chapel. Find more tour stops at https://denguefevermusic.com  or at their Instagram @denguefevermusic   Dengue Fever songs played in this episode: "A Thousand Tears of A Trantula" (Escape from Dragon House) "Tiger Phone Card" (Venus on Earth) "Sni Bong" (Escape from Dragon House) "Family Business" (Cannibal Courtship) Check out our website www.infatuasian.com and write to us at: ⁠infatuasianpodcast@gmail.com⁠, and please follow us on social media @infatuasianpodcast  Cover Art and Logo designed by Justin Chuan @w.a.h.w (We Are Half the World) #asianpodcast #asianamerican #infatuasian #representationmatters  

Thailand is rocked by a viral Facebook sex livestream scandal under police investigation, an intoxicated monk is defrocked after causing chaos in Udon Thani, and a deadly train and bus collision leaves eight dead and raises serious safety concerns. Meanwhile, China pushes forward with plans for a year-long space mission ahead of a 2030 moon landing, an Indian man is arrested on Koh Pha Ngan over alarming gun videos, and a Cambodian fortune teller is detained for fraud and sexual assault linked to fake spiritual rituals. Here's everything you need to know.

Mike talks with filmmaker Kimi Takesue, whose work — spanning documentary, fiction, and experimental forms — is now collected on the Criterion Channel. Takesue grew up shuttling between Honolulu and Massachusetts, and that cross-cultural, biracial upbringing informs every frame she has made, from early shorts rooted in identity politics to acclaimed features documenting cross-cultural encounters in Uganda, Laos, and Hawaiʻi.Her films, including Where Are You Taking Me?, 95 and 6 to Go, and Onlookers, examine those encounters through an observational lens, tracing the power dynamics and unspoken tensions that emerge when tourists and locals share the same unequal terrain. Takesue discusses her practice of traveling without research or agenda, letting one thing unfold into the next, and how a devastating failed fiction project directly led to the making of Where Are You Taking Me? She also talks about the rhythm and formalism of Onlookers, the tension between aestheticizing beauty and critiquing the tourist gaze, the influences she only fully embraced later in her career, and her current work-in-progress following tour guides at Cambodian atrocity sites.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Mike talks with filmmaker Kimi Takesue, whose work — spanning documentary, fiction, and experimental forms — is now collected on the Criterion Channel. Takesue grew up shuttling between Honolulu and Massachusetts, and that cross-cultural, biracial upbringing informs every frame she has made, from early shorts rooted in identity politics to acclaimed features documenting cross-cultural encounters in Uganda, Laos, and Hawaiʻi.Her films, including Where Are You Taking Me?, 95 and 6 to Go, and Onlookers, examine those encounters through an observational lens, tracing the power dynamics and unspoken tensions that emerge when tourists and locals share the same unequal terrain. Takesue discusses her practice of traveling without research or agenda, letting one thing unfold into the next, and how a devastating failed fiction project directly led to the making of Where Are You Taking Me? She also talks about the rhythm and formalism of Onlookers, the tension between aestheticizing beauty and critiquing the tourist gaze, the influences she only fully embraced later in her career, and her current work-in-progress following tour guides at Cambodian atrocity sites.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Joseph fled through the Cambodian jungle as war surrounded him, crying out for God to save his life. Years later, after escaping the devastation of the Killing Fields, he discovered the One who had been pursuing him all along — Jesus.Help us record more testimonies

Episode #537: “Refugees are incredibly remarkable. They're working day-in and day-out to provide for their communities, but they're working under a set of assumptions and a set of regulations that prohibited them from working.” Maximillian Mørch, Head of Program Development and Quality Assurance at The Border Consortium, describes how a system built as an emergency response in 1984 has hardened into a four-decade reality along the Thai–Myanmar border. TBC has long provided food, shelter materials, cooking fuel, nutritional support, and technical assistance across nine border camps. Today, more than 100,000 refugees live inside those camps, with tens of thousands more in rural border areas outside the camp system and at least 50,000 in Thailand's cities. The displacement is not temporary, and it has only further deepened again since the 2021 coup. For decades, camp refugees were largely confined. Leaving without authorization risked being treated as an undocumented migrant, and work outside the camps was prohibited. That restriction made food aid the central pillar of survival. Mørch emphasizes that dependence was structural, not moral: refugees sustained their communities through constant labor, but under rules that prevented real economic participation. Over time, the camps evolved from transplanted villages into organized settlements with homes, schools, clinics, markets, religious life, and refugee-led governance. The Karen Refugee Committee and Karenni Refugee Committee oversee services, coordinate with Thai authorities and NGOs, and manage disputes. Yet the system's viability rested on uninterrupted funding—and in 2025 it began to fail. Food and fuel alone exceptionally costly, and funding gaps at one point left camps without food support for weeks, as global humanitarian crises competed for shrinking resources. With return to Myanmar unsafe and resettlement opportunities collapsing—especially after the suspension and termination of a major U.S. process—Thailand's August 2025 resolution granting eligible refugees the right to work marked a historic rupture. The policy reframes survival around income, with research suggesting a week's wages can exceed a month of past food assistance. Labor shortages in Thailand, particularly after reported departures of Cambodian workers, helped push the reform. Eligibility remains limited, rollout is complex, families generally stay in camps, and around 10% of residents will still need direct aid. “Everyone wants to be self-dependent,” he says. “No one wants to be held hostage to the changing fluctuations” of humanitarian funding. Mørch's portrait is of a system forced to reinvent itself—opening a breach in confinement, but not yet a full pathway out.

Today we'll be talking about Thailand's big policy shift limiting visa-free stay duration in order to attract more quality tourists, at Survanabhumi airport, a Chinese passenger has gone viral for smashing his way through automated passport control gates, near the Cambodian border, a British content creator claims Thai soldiers fired warning shots in his direction, then there are a couple of knife attack stories involving an unemployed boyfriend and some accidentally smashed baby chicks, and a little later, Thai ride-hailing apps have been given a month long deadline to improve their safety standards.

Watch this episode as a full video interview on YouTubeStephen Fishbach is a Pushcart Prize-winning writer and former television executive who served as a Vice President at MTV. A graduate of Yale with an MFA from NYU, he is widely recognised as a two-time contestant and runner-up on the reality show Survivor. His diverse writing background includes serving as a speechwriter for Stevie Wonder and hosting the literary podcast Paraphrase. Stephen lives in Washington, DC, with his wife and two daughters, and his debut novel, Escape!, was inspired by his unique insider perspective on reality television.We had a fantastic time chatting with Stephen about how a harrowing monsoon in the Cambodian jungle finally gave him the focus to pursue serious fiction. We delve into his transition from the "clown music" of reality TV to winning the Pushcart Prize, and how he used his writing to reclaim narrative control in his debut novel. We also talk about his love for the social deduction game Blood on the Clocktower and the meticulous research required to capture the "texture" of life of a professional Marilyn Monroe impersonator.Links:Buy Escape! nowVisit Stephen's websiteFollow Stephen on InstagramSupport us on Patreon and get the podcast early and ad-free, along with other great benefits, including a bonus episodes: https://www.patreon.com/ukpageonePage One - The Writer's Podcast is brought to you by Write Gear, creators of Page One - the Writer's Notebook. Learn more and order yours now: https://www.writegear.co.uk/page-oneFollow us on FacebookFollow us on InstagramFollow us on BlueskyFollow us on ThreadsPage One - The Writer's Podcast is part of STET Podcasts - the one stop shop for all your writing and publishing podcast needs! Follow STET Podcasts on Instagram and Bluesky Hosted on Acast. See acast.com/privacy for more information.

Today on Scope Conditions: when the bombs don't go off, the war isn't over.We tend to think of peace as beginning when the bombs stop falling. But as our guest today shows us, this is only half the story. Over the course of the Vietnam War, the United States engaged in massive bombing in Cambodia. Between 1965 and 1973, the U.S. dropped 500,000 tons of explosives there — more than the combined weight of every man, woman, and child in the country. Dr. Erin Lin, an Associate Professor of Political Science at the Ohio State University, set out to understand the continued impacts of this cataclysmic bombing campaign on Cambodian society. A landmark 2011 study had given us a partial answer: it had concluded that US bombing had no measurable long-term effects on economic outcomes in Southeast Asia. For years, that finding set the terms of the debate.In her award-winning book, When the Bombs Stopped: The Legacy of War in Rural Cambodia, published by Princeton University Press, Erin pushes back. She argues that those analyses were looking at the wrong level — that district-level aggregates conceal devastating effects on individual households and farms. More than that, they were looking at only half the intervention. It's the bombs that didn't detonate — an estimated 26 million cluster munitions still embedded in the soil — that are shaping life today in rural Cambodia.Erin spent years farming alongside families, combing through declassified military records, and building some of the most granular data ever assembled on the American bombing campaign. Her creative multi-method research design allows her to trace the dramatic long-term consequences of unexploded ordinance for the economic livelihood of Cambodian farmers.We talk with Erin about the many ironies laced through her findings: that cluster munitions are most likely to fail in soft, fertile soil, meaning Cambodia's most agriculturally valuable land is also its most contaminated; that bomb contamination can paradoxically shield farmers from predatory land seizures by political elites; and that unexploded ordnance, rather than forging solidarity among those living with it, tends to deepen ethnic divisions within villages.We hope you learn from this conversation. To stay informed about future episodes, follow us on X and Bluesky @scopeconditions and check out our website, scopeconditionspodcast.com, where you can also find references to all the academic works we discuss. And if you like the show, please rate and review us on Apple Podcasts or Spotify.We note that we recorded this interview before the recent US-Israeli war with Iran. Now, here's our conversation with Erin Lin.Works cited in this episodeBiddle, Steven. 2004. Military Power: Explaining Victory and Defeat in Modern Battle. Princeton University Press.Brooks, Rosa. 2014. “Cross-Border Targeted Killings: ‘Lawful but Awful'?” Harvard Journal of Law and Public Policy 38:233–50.________. 2014. “Drones and the International Rule of Law.” Ethics & International Affairs 28(1):83–103. ________. 2016. How Everything Became War and the Military Became Everything: Tales from the Pentagon. Simon and Schuster.Horowitz, Michael C. 2010. The Diffusion of Military Power. Princeton University Press.Lyall, Jason, and Isaiah Wilson. 2009. “Rage against the Machines: Explaining Outcomes in Counterinsurgency Wars.” International Organization 63(1):67–106.Reiter, Dan, and Allan C. Stam. 2010. Democracies at War. Princeton University Press.Pape, Robert A. 2014. Bombing to Win: Air Power and Coercion in War. Cornell University Press.Schelling, Thomas. 2008. Arms and Influence. Yale University Press.Sheehan, Neil. 1971. “Should We Have War Crime Trials?” New York Times Book Review. 

Are Art and Upheaval totally incompatible or unavoidably connected?We're rebroadcasting this episode from 2022, in part, because the ground beneath it hasn't settled—it's shifted, cracked, and in some places, caught fire again. The headlines keep reminding us: conflict, repression, dislocation, the slow erosion—and sometimes the sudden collapse—of trust in our institutions and in each other.And right there, in the middle of it, the same quiet, stubborn truth this episode points to: if you scratch the surface of upheaval, you will find artists. Not on the sidelines—on the frontlines. Bearing witness. Making meaning. Holding the line while other systems falose thier grip.Three things to listen for as you step in:First, the insistence that art is not ornamental in times of crisis—it's operational. It does real work in real conditions.Second, the pattern: loss, rupture, and then—again and again—creative acts that stitch something back together. Not perfectly. But enough to move forward.And third, the wager at the heart of it all: that imagination isn't an escape from reality—it's a tool for reshaping it.Some people still think you can't beat the devil with a song.Listen closely.Then decide for yourself.Notable MentionsFor this episode of Change the Story Change the World we are going to revisit some of those Art and Upheaval stories along with the song of the same name to make a point. Yea, some people think you can't beat the devil with a song, but they don't know!Art & Upheaval (song) From the CD Songlines by Cleveland Plainsong:Art & Upheaval: Artists at Work on the World's Frontlines, New Village PressChange the Story Change the WorldSouth African Bill of Rights: The Bill of Rights is arguably the part of the Constitution that has had the greatest impact on life in this country. As the first words of this chapter say: "This Bill of Rights is a cornerstone of democracy in South Africa. It enshrines the rights of all people in our country and affirms the democratic values of human dignity, equality and freedom."It has also been the source of the majority of the groundbreaking rulings the Constitutional Court has handed down. To read more about selected rights and the way the Constitutional Court has interpreted them, see children's rights, women's rights, gay and lesbian rights, workers' rights and access to information.Art for Humanity: engages with multidisciplinary arts practice and a wide variety of creative practice within the context of the pressing need for the centering of social justice in our contemporary moment. Based primarily in Durban, the organization aims to support, host, document, create space for, catalyze, and help stimulate this intersection between the arts and questions of history, social transformation and social justice. Bishop Desmond Tutu: was a South African Anglican bishop and theologian, known for his work as an anti-apartheid and human rights activist. He was Bishop of Johannesburg from 1985 to 1986 and then Archbishop of Cape Town from 1986 to 1996, in both cases being the first black African to hold the position. Theologically, he sought to fuse ideas from black theology with African theology.Khmer Rouge: The Communist Party of Kampuchea (CPK), otherwise known as the Khmer Rouge, took control of Cambodia on April 17, 1975. The CPK created the state of Democratic Kampuchea in 1976 and ruled the country until January 1979. The party's existence was kept secret until 1977, and no one outside the CPK knew who its leaders were (the leaders called themselves “Angkar Padevat”).While the Khmer Rouge was in power, they set up policies that disregarded human life and produced repression and massacres on a massive scale. They turned the country into a huge detention center, which later became a graveyard for nearly two million people, including their own members and even some senior leaders.Reyum Institute of Arts and Culture: Reyum was a non-profit, non-governmental organisation dedicated to Cambodian arts and culture. Reyum was founded by Ly Daravuth and Ingrid Muan (1964 - 2005) in December 1998 in order to provide a forum for research, preservation, and promotion of traditional and contemporary Cambodian arts and culture.Watts Writers Workshop: was a creative writing group initiated by screenwriter Budd Schulberg in the wake of the devastating August 1965 Watts Riots in South Central Los Angeles (now South Los Angeles). Schulberg later said: "In a small way, I wanted to help.... The only thing I knew was writing, so I decided to start a writers' workshop."[1] The group, which functioned from 1965 to 1973, was composed primarily of young African Americans in Watts and the surrounding neighborhoods. Early on, the Workshop included a theatrical component and one of the founders was the actor Yaphet Kotto. The group expanded its facilities and activities over the next several years with funding from the Rockefeller Foundation. Government files later revealed that the Workshop had been the target of covert operations by the FBI. Writers involved in the Workshop include Quincy Troupe, Samuel Harris Jr better known as Leumas Sirrah, Johnie Scott, Eric Priestley, Ojenke, Herbert Simmons, and Wanda Coleman, as well as the poetry group Watts Prophets.Amde Hamilton: Father Amde is widely recognized for being one of the original poets in the world famous Watts Writers Workshop during the 1960's, where he and two other poets formed the legendary rap group, the Watts Prophets. Amid racism, poverty, and police brutality that ultimately sparked the Watts Riots, the Watts Writers Workshop tapped into the young, Black voices of Los Angeles that needed to be heard.Watts Prophets: The Watts Prophets are a group of musicians and poets from Watts,

On this week's show, Patrick Gray and James Wilson are joined by special guest-host Dmitri Alperovitch. They discuss the week's cybersecurity news, including: The US government is mad as hell about Chinese firms stealing American AI technology Dmitri has an opinion or two about the US selling Nvidia chips to China Speaking of Chinese AI, Kimi's new 2.6 is very interesting The US sanctions a Cambodian senator for earning mega bucks through scam compounds And a ransomware family is promoting itself as being … quantum-safe? This week's show is sponsored by Trail of Bits. CEO and co-founder Dan Guido chats to Pat about how private inference works and Trail of Bits' audit of WhatsApp's private AI setup. This episode is also available on Youtube. Show notes Exclusive: US State Dept orders global warning about alleged AI thefts by DeepSeek, other Chinese firms | Reuters moonshotai/Kimi-K2.6 · Hugging Face Discord Sleuths Gained Unauthorized Access to Anthropic's Mythos | WIRED Newly Deciphered Sabotage Malware May Have Targeted Iran's Nuclear Program—and Predates Stuxnet | WIRED Hackers deployed wiper malware in destructive attacks on Venezuela's energy sector | The Record from Recorded Future News Mystery Around Venezuelan Cyberattack Deepens, with New Discovery of "Highly Destructive" Wiper Risky Business #819 -- Venezuela (credibly?!) blames USA for wiper attack - Risky Business Media AI Tools Are Helping Mediocre North Korean Hackers Steal Millions | WIRED CISA: US agency breached through Cisco vulnerability, FIRESTARTER backdoor allowed access through March | The Record from Recorded Future News US, UK authorities warn that Firestarter backdoor malware survives patching | Cybersecurity Dive Surveillance campaigns use commercial surveillance tools to exploit long-known telecom vulnerabilities | CyberScoop UK regulator closes loophole that allowed rogue companies to track phone users' location | Reuters US sanctions Cambodian senator for millions earned through scam compounds | The Record from Recorded Future News Vercel says some of its customers' data was stolen prior to its recent hack | TechCrunch Supply Chain Security Incident Update Apple fixes bug that cops used to extract deleted chat messages from iPhones | TechCrunch Kyle Daigle on X: "Wanted to provide more clarity about this. Yesterday, we had a regression in merge queue behavior where, in some cases, squash or rebase commits were generated from the wrong base state, making earlier changes appear reverted in branch history. 2,804 pull requests out of over 4M" / X Securing the git push pipeline: Responding to a critical remote code execution vulnerability - The GitHub Blog One ransomware crew now drives half of all cyber claims: At-Bay | Insurance Business In a first, a ransomware family is confirmed to be quantum-safe - Ars Technica What we learned about TEE security from auditing WhatsApp's Private Inference

In this episode of A Little Faith, Micahel interviews Stephanie Keating about her mission work in Phnom Penh, Cambodia, and the faith crisis she faced when COVID upended her life. Sponsored by WCF, Stephanie moved to Cambodia in 2017 to teach English and the Bible, eventually marrying a Cambodian brother Pisey in early 2020. As borders shut, work disappeared, and she became pregnant, Stephanie returned to Canada in July 2020 while Pisey stayed behind. Their applications for him to come to Canada were repeatedly refused, leaving them separated for nearly two years; Pisey first held their son Elisha at 17 months old. Stephanie shares anger, grief, and the struggle of “unanswered prayers,” and the scriptures that anchored her. 2 Kings 6 and Job 5:17–18 both stand out to Stephanie to help her frame suffering, and help her deepen her faith.

Separated from her family and trained as a child soldier, Loung Ung's unbreakable spirit helped her survive Pol Pot's regime, which killed nearly a quarter of Cambodia's population.In the Chinese tradition of Loung Ung's mother, the element of fire was dangerous in a daughter: too bold, too defiant, too difficult to control. And, according to her, Loung had been born with ‘too much' of it. But when the Khmer Rouge seized power in April 1975, that fire became key to Loung's survival. Between 1975 and 1979, up to 2 million Cambodians died through execution, famine and disease. Forced into the countryside to do hard labour, Loung's family struggled. As their world was torn apart, Loung was told by her mother to run away. Loung would end up as a child soldier, separated from the rest of her siblings. Once the regime fell, she became the only child from the family chosen to go to the USA for a better life. But it was a dangerous journey and Loung would suffer with PTSD for years afterwards. The plan was to reunite the family within a few years, though due to financial constraints that wasn't possible. As an adult, Loung has worked on campaigns addressing violence against women, the use of child soldiers and landmine eradication worldwide and has managed to reunite with her siblings. Her story was eventually made into a film, directed by Angelina Jolie, named after Loung's memoir of the same name: First They Killed My Father. Loung has written two other memoirs: Lucky Child and Lulu in the Sky. Presenter: Asya Fouks Producer: Emily NaylorLives Less Ordinary is a podcast from the BBC World Service that brings you the most incredible true stories from around the world. Each episode a guest shares their most dramatic, moving, personal story. Listen for unbelievable twists, mysteries uncovered, and inspiring journeys - spanning the entire human experience. Step into someone else's life and expect the unexpected.   Got a story to tell? Send an email to liveslessordinary@bbc.co.uk or message us via WhatsApp: 0044 330 678 2784   You can read our privacy notice here: https://www.bbc.co.uk/programmes/articles/5YD3hBqmw26B8WMHt6GkQxG/lives-less-ordinary-privacy-notice

Locked Shields wraps another year. Open models challenge Mythos. CISA tracks FIRESTARTER inside a federal agency. The White House targets foreign AI model extraction. Microsoft lets admins remove Copilot. Treasury sanctions a Cambodian scam-compound senator. Breeze Cache rushes a patch. Researchers downplay OT malware hype, while NIST pushes for better OT visibility. Our guest is Eric Russo, Director, SOC Defensive Security at Barracuda, discussing the risks posed by employees downloading pirated software. Con artists charge crypto for counterfeit clearance. Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our daily intelligence roundup, Daily Briefing, and you'll never miss a beat. And be sure to follow CyberWire Daily on LinkedIn. CyberWire Guest Our guest is Eric Russo, Director, SOC Defensive Security at Barracuda, discussing the risks posed by employees downloading pirated or cracked software onto corporate devices. You can learn more here. Selected Reading Locked Shields 2026: 41 Nations Strengthen Cyber Resilience in World's Biggest Exercise (SecurityWeek) Open source models can find bugs as well as Mythos (The Register) CISA: US agency breached through Cisco vulnerability, FIRESTARTER backdoor allowed access through March (The Record) Trump Administration Vows Crackdown on Chinese Companies 'Exploiting' AI Models Made in US (SecurityWeek) Microsoft now lets admins uninstall Copilot on enterprise devices (Bleeping Computer) US sanctions Cambodian senator for millions earned through scam compounds (The Record) Cloudways Patches Actively Exploited File Upload Flaw in Breeze Cache Plugin (Beyond Machines) Dragos: Despite AI use, new malware targeting water plants is ‘hype' (CyberScoop) NIST cyber center to launch OT ‘visibility' project (Federal News Network) Crypto scam lures ships into Strait of Hormuz, falsely promising safe passage (Ars Technica) Share your feedback. What do you think about CyberWire Daily? Please take a few minutes to share your thoughts with us by completing our brief listener survey. Thank you for helping us continue to improve our show. Want to hear your company in the show? N2K CyberWire helps you reach the industry's most influential leaders and operators, while building visibility, authority, and connectivity across the cybersecurity community. Learn more at sponsor.thecyberwire.com. The CyberWire is a production of N2K Networks, your source for strategic workforce intelligence. © N2K Networks, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

Auckland, New Zealand has been growing at a dizzying pace, so Elle-Armon Jones from The Big Foody food tours is back to talk about the changes in her city. We explore the neighborhoods of Ponsonby and K Road. Plus, the only Cambodian restaurant in New Zealand, a memorable Samoan meal, and making gin out of old bread. [Ep 386] Show Notes: Food & Travel guides from Destination Eat Drink Foodie videos from Destination Eat Drink The Big Foody food tours Vineyard Cottages

Another week with Sen off mysteriously leaving Migs and Ro to hold down the fort. The boys talk about their time at the Sydney Comedy Festival (featuring Vietnamese/Cambodian Sen). Migs then talks about his upcoming South America trip at the end of the year including training for a trek, Ro continues to complain about the Sydney housing market, we have a few listener submissions and we end with the top work trends for 2026.Our segment this week is "Finding the Best," where we put head to head the greatest [insert name here]'s of all time i.e. who is the greatest Michael of all time?___________________________________________________________ FULL PODCAST EPISODES

The construction worker's son who learned to build spacecraft is about to disrupt a $1.4 trillion industry that hasn't changed in 70 years. Nick Callegari spent his childhood summers working construction sites alongside his father, a laborer who still builds walls in Florida using the exact same methods he used 30 years ago. Then Nick went to work as an engineer at SpaceX, where he watched a team challenge every assumption about what's possible and accomplish the extraordinary. That contrast haunted him. 41% of America's construction workforce retires by 2031. We're already millions of homes short. And Nick's own family experienced the crushing pain of housing insecurity, so he understands the problem that faces millions of American families. So he left SpaceX and rockets behind to solve it. In this deeply personal episode of The Optimistic Outlook, Forbes 30 Under 30 founder Nick Callegari reveals how his company Verustruct are using mobile robotics and AI-powered 3D printing to build affordable homes at a scale traditional construction never could, and why this matters to investors, manufacturers, and anyone who believes advanced technology should serve basic human needs first. Host Peng-Sang Cau— a Cambodian refugee, former founder, and now Siemens' startup ecosystem leader — brings her own story of survival and technology's promise to this conversation about who gets access to the future we're building. You'll discover: Why the housing shortage is a skilled labor crisis that automation must solve How the Verustruct mobile 3D printing system works differently and with greater agility than any other 3D printing technology for homes  What $2.1M in pre-seed funding means for construction's digital transformation Why "the future is here, but not evenly distributed" — and what Siemens is doing about it The personal pain that drives mission-focused founders to tackle society's thorniest problems How Siemens for Startups partners with innovators from concept to automation at scale This isn't another startup story. It's about how we're finally applying spacecraft-level innovation to the fundamental right of shelter. For leaders in construction tech, real estate development, automation, venture capital, or manufacturing: this is the conversation about where digital transformation meets demographic crisis. Show notes: More about Verustruct: https://www.verustruct.com/ Siemens for Startups Program⁠: https://www.siemens.com/en-us/company/innovation/startups/

Jay Rayner and the panel are at the Forum Theatre in Stockport answering the questions from a keen audience of home cooks. Joining Jay are chefs, cooks and food writers, Angela Gray, Sarah Rankin, Nisha Katona and Rob Owen Brown. The panellists discuss how to use orange in savoury dishes, the best uses for leftover celery, and the question on everyone's mind - should orange juice be with bits or smooth?Jay chats to chef and founder of local Cambodian restaurant, Y Sok about the flavours, techniques and importance of fish sauce in Cambodian cookery. Producer: Dulcie Whadcock Assistant Producer: William NortonA Somethin' Else production for BBC Radio 4

Renaldo McKenzie of The Neoliberal Round Podcast met up with Philadelphia City Council member Mark Squilla at the city's Raising of the Cambodian Flag Event on April 15th 2026. Mr. Squilla talks about the significance of the event and talks briefly with Renaldo while at the event on The Neoliberal Round Podcast.Visit us at https://anchor.fm/theneoliberal or via YouTube https://youtube.com/@renaldomckenzieThe Neoliberal Round is brought to you by The Neoliberal Corporation and Renaldo McKenzie. Visit us at https://theneoliberal.com and https://renaldocmckezie.com

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]

Monday, 30th March 2026 Monday Night Meditation at the Cambodian Society of WA (CBSWA) with Ajahn Kassapa. These weekly teachings give an introduction into meditation and some guidance and basics into the practice of the Buddhist Path. They usually consist of a thirty-minute meditation, a short talk and then questions & answers. Chapters     00.00.00    Metta Sutta in English     00:03:27    Guided Meditation     00:36:10    Dharma Talk     00:58:00    Sharing of Merits       01:00:00    Close If you wish to support the BSWA, please use this link Ko-Fi BSWA teachings are available from: · BSWA Teachings · BSWA Podcast Channel · BSWA DeeperDhamma Podbean Channel · BSWA YouTube Teaching retrieved from CBSWA please visit to find out how to attend the monastery in person.

In Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film (Edinburgh UP, 2025), Leslie Barnes examines the ambivalences that mark Southeast Asian sex industries under global imperialism. She explores the multi-layered subjectivities of sex workers, procurers and clients, and interrogates the frameworks in which discourses surrounding sex work circulate. Engaged with debates concerning the status of transactional sex, Sex Work in Southeast Asia explores the symbolic force and concrete conditions of sex work in Cambodia and Vietnam, considering how these debates and the figures they ensnare are mediated by fiction and creative nonfiction. The book's scenes of ambivalence show how the aesthetic treatment of sex work stretches the paradigms we use to make sense not only of sex work, but also of art, the evidentiary status of testimony and the spectacles of pleasure and suffering. Contesting essentialism and authenticity, and working to suspend judgement, these scenes encourage a re-examination of what we think we know about sex work, how we know it and what we do with that knowledge. Leslie Barnes is an Associate Professor of French Studies at the Australian National University. She is author of Vietnam and the Colonial Condition of French Literature (2014) and co-editor of The Cinema of Rithy Panh: Everything Has a Soul (2021). We previously chatted on New Books about her work on the great Cambodian film director Rithy Panh, so was excited to speak with her again about Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of Fraudology, Karisse Hendrick welcomes back Erin West, prosecutor and founder of Operation Shamrock, for an urgent update on the global "scamdemic" of pig butchering. Erin shares firsthand accounts from her recent investigative trip to Cambodia, providing a chilling look at the industrialized nature of transnational organized crime and the massive scale of the scam compounds operating in the region.The conversation explores the recent waves of accountability, including the historic U.S. indictment of Cambodian/Chinese kingpin Chen Ji and the subsequent $15 billion forfeiture—a move that has sent ripples of fear through the industry. Erin details the "Super Bowl effect" she witnessed in Sihanoukville, where compounds appeared shuttered for show while operations continued behind locked metal doors and shuttered windows.We also explore the "hot topics" dominating the fraud landscape today:The GDP of Fraud: How the scam industry now accounts for an estimated 40% to 60% of Cambodia's GDP, making total eradication a complex economic and humanitarian challenge.Industrialized Deception: Why these compounds resemble corporate training rooms—complete with cubbies for personal phones and strict "fine" schedules for victims—proving this is a highly systemized global industry.The Liability Lever: A look at how platforms like Meta successfully block scam ads in Australia where they face financial liability, while failing to do so in regions where "teeth" in the law are missing.Building the Coalition: How Erin's crypto-coalition has grown to 2,400 members, bridging the gap between local law enforcement and federal agencies to ensure victims are no longer turned away.Additionally, Erin dives into the heartbreaking reality of the "generation's worth of wealth" being stolen from Western countries to fund "mint-colored Rolls Royces" and garish displays of luxury in Phnom Penh. We conclude with a call to action for fraud professionals to "Train the Trainer," using Operation Shamrock's resources to educate their own communities and break the echo chamber.

In Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film (Edinburgh UP, 2025), Leslie Barnes examines the ambivalences that mark Southeast Asian sex industries under global imperialism. She explores the multi-layered subjectivities of sex workers, procurers and clients, and interrogates the frameworks in which discourses surrounding sex work circulate. Engaged with debates concerning the status of transactional sex, Sex Work in Southeast Asia explores the symbolic force and concrete conditions of sex work in Cambodia and Vietnam, considering how these debates and the figures they ensnare are mediated by fiction and creative nonfiction. The book's scenes of ambivalence show how the aesthetic treatment of sex work stretches the paradigms we use to make sense not only of sex work, but also of art, the evidentiary status of testimony and the spectacles of pleasure and suffering. Contesting essentialism and authenticity, and working to suspend judgement, these scenes encourage a re-examination of what we think we know about sex work, how we know it and what we do with that knowledge. Leslie Barnes is an Associate Professor of French Studies at the Australian National University. She is author of Vietnam and the Colonial Condition of French Literature (2014) and co-editor of The Cinema of Rithy Panh: Everything Has a Soul (2021). We previously chatted on New Books about her work on the great Cambodian film director Rithy Panh, so was excited to speak with her again about Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film (Edinburgh UP, 2025), Leslie Barnes examines the ambivalences that mark Southeast Asian sex industries under global imperialism. She explores the multi-layered subjectivities of sex workers, procurers and clients, and interrogates the frameworks in which discourses surrounding sex work circulate. Engaged with debates concerning the status of transactional sex, Sex Work in Southeast Asia explores the symbolic force and concrete conditions of sex work in Cambodia and Vietnam, considering how these debates and the figures they ensnare are mediated by fiction and creative nonfiction. The book's scenes of ambivalence show how the aesthetic treatment of sex work stretches the paradigms we use to make sense not only of sex work, but also of art, the evidentiary status of testimony and the spectacles of pleasure and suffering. Contesting essentialism and authenticity, and working to suspend judgement, these scenes encourage a re-examination of what we think we know about sex work, how we know it and what we do with that knowledge. Leslie Barnes is an Associate Professor of French Studies at the Australian National University. She is author of Vietnam and the Colonial Condition of French Literature (2014) and co-editor of The Cinema of Rithy Panh: Everything Has a Soul (2021). We previously chatted on New Books about her work on the great Cambodian film director Rithy Panh, so was excited to speak with her again about Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film (Edinburgh UP, 2025), Leslie Barnes examines the ambivalences that mark Southeast Asian sex industries under global imperialism. She explores the multi-layered subjectivities of sex workers, procurers and clients, and interrogates the frameworks in which discourses surrounding sex work circulate. Engaged with debates concerning the status of transactional sex, Sex Work in Southeast Asia explores the symbolic force and concrete conditions of sex work in Cambodia and Vietnam, considering how these debates and the figures they ensnare are mediated by fiction and creative nonfiction. The book's scenes of ambivalence show how the aesthetic treatment of sex work stretches the paradigms we use to make sense not only of sex work, but also of art, the evidentiary status of testimony and the spectacles of pleasure and suffering. Contesting essentialism and authenticity, and working to suspend judgement, these scenes encourage a re-examination of what we think we know about sex work, how we know it and what we do with that knowledge. Leslie Barnes is an Associate Professor of French Studies at the Australian National University. She is author of Vietnam and the Colonial Condition of French Literature (2014) and co-editor of The Cinema of Rithy Panh: Everything Has a Soul (2021). We previously chatted on New Books about her work on the great Cambodian film director Rithy Panh, so was excited to speak with her again about Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

3. Westmoreland's three-phase plan focused on building massive infrastructure and then launching "crushing operations" to force North Vietnamese negotiations. However, the "search and destroy" metric of success—body counts—failed because 90% of operations made no enemy contact. The NVA often disappeared into trackless jungles to live to fight another day. Meanwhile, President Johnson respected Cambodian and Laotian neutrality despite NVA exploitation. He feared that widening the war into these vast sanctuaries would require massive troop increases the U.S. could not sustain, choosing instead to focus combat within South Vietnamese borders. (3)

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Join Mike Ritland on this episode of the Mike Drop podcast as he chats with retired Sergeant Major Mike Vining, a Vietnam veteran, explosive ordnance disposal expert, and founding member of Delta Force. With a career spanning 26 years and involvement in pivotal operations like the Cambodian incursion and Khobar Towers investigation, Vining shares riveting tales from the front lines, his reflections on war, and insights from his upcoming book Blasting Through, set for release in August 2026. Learn more about your ad choices. Visit podcastchoices.com/adchoices