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Send us a Text Message.This conversation is a review of the Pirates of the Caribbean movies, with discussions on the rankings, casting choices, and the popularity of pirates. The hosts also review two rums, with mixed opinions on their taste. They share trivia facts about the movies, including the original casting choices and the inspiration behind the character of Jack Sparrow. The conversation highlights the freedom and romanticized image associated with pirates. The conversation in this part of the recording covers various topics related to the Pirates of the Caribbean movies, including the portrayal of pirates, the makeup and special effects, the character of Jack Sparrow, the characters of Gibbs, Mr. Cotton, and Marty, the character of Captain Barbossa, the setting of Tortuga, and the naval warfare scenes. The conversation also touches on the relationship between Will Turner and Elizabeth Swann, the curse of the Black Pearl, and the growth of Elizabeth's character throughout the films. In this part of the conversation, the hosts discuss the character of Lord Beckett and the East India Trading Company, as well as the island sequence and the character of Tia Dalma. They also express their love for the character of Davy Jones, played by Bill Nighy. In this part of the conversation, the hosts discuss their thoughts on Bill Nye's performance and the impressive CGI of Davy Jones. They also talk about the character development of Norrington and the well-choreographed three-way sword fight. The hosts express their love for the Kraken attack scene and the return of Barbossa at the end of the film. In this part of the conversation, the hosts discuss the Song of the Gallows and the scene with Captain Sao Feng. They also talk about the size and scale of Chinese and Japanese ships during that time period. They discuss the character development of Jack Sparrow and his relationship with Captain Barbossa. They debate the timeline of the movies and the journey to Davy Jones' Locker. They also discuss the relationship between Davy Jones and Calypso, and the pirate politics in the Brethren Court. The hosts praise the action sequences and the Hans Zimmer score. The Pirates of the Caribbean trilogy is highly enjoyable and well-crafted, with Support the Show.Subscribe to our YOUTUBE Channel to watch video versions of our showhttps://youtube.com/@barrelagedflickvideopodcast?si=XQtXR8xlhtxqlasf#beer #baf #moviepodcast #season4 #podcastlife #comedy #podcastlovers #2024 #cocktails #hilarious #podcasts #moviereview #podcastsofinstagram #moviefacts #liquor #drinkreview #barrelagedflickspodcast #barrelagedflicks #moviereviews #subscribe #drunkpodcast #podcast #barrelagedchicks #podcastsofyoutube #youtube #viral #drinkreviews #thetastingroom #guys #brothers #moviefacts #debates #arguments Please leave a LIKE on this video if you enjoyed our show and Subscribe to our YOUTUBE CHANNEL. Don't forget to follow us on Instagram for show updates, plus behind-the-scenes photos of the drinks we've enjoyed on the show and pint review cards! "If you're enjoying our show, please consider leaving us a 5-star review on Spotify, Goodpods, or Apple Podcasts! Your support means the world to us." Don't miss out on our exclusive offers and ways to support the show: - Elevate your beard game with amazing products like Beard oil, Balm, Cologne, and more from [Copper Johns Beard](https://copperjohnsbeard.com). Use code BAF10 at checkout for a 10% discount! - Fuel your day with kickass coffee from [Coffee Bros](http://coffeebros.com). Use code BAF10 at checkout for 10% off your order! - If you would like to...
The Curse of the Black Pear by Irene Trimble原文Chapter X: Gold.A short time later, Will and Jack and their men arrived at the Isla de Muerta,too.Through the fog, they could see ships – old ships under the water.Jack turned to Gibbs."Stay here with the men," he said.Jack and Will got into a smaller boat and started to go to the island."Do you see that?" said Will. "There! A cave, I think."The boat moved slowly into the cave.It was very dark, and the walls were wet.Jack and Will didn't speak.On their left, they saw a light, and next to it was a skeleton.It had a sword in its back.They stopped the boat and jumped out.Then Will followed Jack, and they climbed for a short time.Suddenly, they saw some lights.In front of them was a second, bigger cave.They saw gold boxes, gold cups, gold plates, and gold swords. And a lot of money.The cave was full of gold!In the middle of the cave, in the middle of the gold, Elizabeth stood next to an old Aztec box.She couldn't move because Barbossa had his hands on her.Will wanted to go to her, but Jack stopped him."No!"he said. "We have to wait."Will didn't want to wait.Elizabeth's life was too important to him."I'm sorry, Jack," he said, and he hit Jack hard.Jack fell to the ground. He didn't move.Will looked around the cave and listened."Do you know my plan?" Captain Barbossa said to his men. "When this curse ends, I'm going to eat fruit. A lot of fruit!"The other pirates laughed.Barbossa looked at Elizabeth. He took her hand and cut it with a knife.Then he put the medallion on her hand and closed her hand around it."Blood,"he said. "Turner's blood. The curse started with blood and it ends with blood."He took the bloody medallion from Elizabeth and put it into the box on to the gold.The pirates waited."I don't feel different,"Ragetti said. "Is that really the end of the curse?""How will we know?" Pintel asked.Barbossa thought about that.Then he took out his gun and shot Pintel.Pintel stayed on his feet.The pirates were very unhappy."Oh,it didn't work!" they shouted.Barbossa didn't understand."You!"he said to Elizabeth. "Was your father William Turner? Bill Turner?""No,"she said.The pirates shouted again."She's not Turner's child!""She's the wrong person!""But she had the medallion!""She's the right age."They called to Barbossa."You killed Bill.""You started this!"Nobody looked at Elizabeth.Suddenly,she felt a hand on her arm.It was Will. "Come with me," he said quietly. "Quickly. Now."Elizabeth started to move.But first, she took the medallion.They ran to the boat."Look,the girl! She has the medallion! Get them!"The pirates ran to their boats.Then they saw Jack."Jack Sparrow!" said Barbossa. "Aren't you dead?""No,I'm not dead.""But you will be..." Barbossa took out his gun."Wait,wait," said Jack. "The girl's blood didn't work.""How do you know?""I know. You don't want her blood. I can help you."
The Curse of the Black Pear by Irene Trimble单词提示1.curse 诅咒2.skeletons 骷髅原文Chapter VIII: Dinner with BarbossaElizabeth sat at a table on the Black Pearl.There was a lot of food on the table -bread, fruit, and meat.Captain Barbossa sat at the other end of the table."Are you hungry?" he said. "Please eat."Elizabeth was very hungry.She took some bread and some meat and started to eat."Have a drink," said Barbossa.Elizabeth drank. Then she looked at the captain. "You're not eating," She said, "Is something wrong with the food? Are you trying to kill me? You eat it? "She gave the captain some bread, but he didn't take it."I can't eat it," Barbossa said unhappily. "I'd like to. I'd love to.But I can't."He took the gold medallion from his coat."This gold, Miss Turner, is very old. The Aztecs gave it to Cortes when he arrived in the Americas. There are many, many more of these. And the Aztecs put a curse on them. ""We found the gold on the Isla de Muerta," said Barbossa. "We took all of it. We bought food and drink with it. But then, suddenly, we couldn't eat and we couldn't drink. When we took the money, Miss Turner, the curse came with it."The captain suddenly looked happier."But now we can end the curse. We had to find all of the gold. Then we had to put it back on the island and give some blood. For ten years we looked for the gold one very ship and in every town...""And now you have all of it," Elizabeth said."Yes.With this gold medallion, we have all of it. Thank you."She thought for a minute. "You have everything, and you're going to be free of the curse. So why am I here? ""There's one more thing, you're Elizabeth Turner, the daughter of the pirate Bill Turner.He was one of us, but he isn't with us now. We have to have your blood!"Elizabeth didn't understand, but she was afraid. Her blood?She jumped up and tried to run.But Barbossa stood in front of her.She took a knife and pushed it into him.Then she ran outside.She closed her eyes.Her blood! What could she do?She opened her eyes and saw the pirates at work.Then she looked carefully.They weren't men - they were skeletons!Barbossa was behind her."Now,Miss Turner, you can really see us." He smiled. "Yes, Miss Turner,we're all ghosts. You're in a ghost story!"
We begin our quest for the Fountain of Youth in the first episode of Season 3! Justin recaps some recent Pirates of the Caribbean news before diving into the fourth Pirates movie, On Stranger Tides. Jack Sparrow arrives in London, England and meets with King George and Captain Barbossa. An imposter turns out to be Jack's long lost love, Angelica. Gibbs burns the Mao Kun map and joins Barbossa's crew as they prepare to sail for the Fountain of Youth. Send an email: podcastsofthecaribbean@gmail.com Instagram: @podcastsofthecaribbean Twitter: @podcastpotc
In honor of its 20th anniversary, we hit the high seas with Captain Jack Sparrow, Captain Barbossa, Elizabeth Swann, and Will Turner as we look back at Disney's landmark summer movie, Pirates of the Caribbean: The Curse of the Black Pearl. Find more Dis-Order: Every Disney Movie through the official RF4RM social media channels: Web | Twitter | Facebook | Instagram Rate, review, & subscribe to Dis-Order on: Apple Podcasts | Google Play | Stitcher Your feedback is appreciated. Send emails to podcast@rf4rm.com
You Best Start Believin' In Ghost Stories, Ms. Turner. – Captain Barbossa. Join us and our wonderful guest, Sam, this week as we set sail, keep to the code and discuss The Pirates of the Caribbean: The Curse of the Black Pearl. Did we succumb to the allure of Aztec gold? Find out on this weeks episode of Disney Geeks: The Podcast.
Hope you all brought an appetite for vigilante justice, because we're breaking down a long list of lone rangers in the Biggest Disney Badass Bracket. **Language warning: We traditionally censor adult language, but due to the subject of this bracket, this episode is presented uncensored.** - Welcome back to the show, Mandy! - Each of Fulton's slap shots are a traumatic event. - It's ok to sing AND be a badass! - Why tattoos are so badass. - Ned Land's Simon Cowell shirt and "Best Disney Ass"? - Frank from the Jungle Cruise and Joe Exotic are basically the same character. - Captain Barbossa is a great boss. - Chernabog just wanted to throw a party. - Nani's athleticism in extreme sports. - We look up the correct phrase for wrangling a wild horse. - Short King Spring for Sgt Calhoun. - Moana has a home run derby swing? Got a rebuttal? Want to be a tiebreaker host? We'd love to hear from you: Support us on Patreon: cutt.ly/GerisGang Email us at mousemadnesspodcast@gmail.com Tweet us @MouseMadnessPod Follow us on Instagram @MouseMadnessPod Chat with us on Discord: discord.gg/qwpqAWA Join our Facebook Community: fb.me/MouseMadnessPodcast
We don't know about you all, but we couldn't help but think of Captain Barbossa during this week's episode: "You best start believing in ghost stories, Ms. Summers. You're in one!" Join us as we discuss ghosts, government conspiracies, and how Spike remains the coolest vampire in Sunnydale. It's "I Only Have Eyes For You"! Warning: This podcast is NOT spoiler free. Twitter: https://twitter.com/diarieswatchers (https://twitter.com/diarieswatchers) Instagram: https://www.instagram.com/watchersdiaries/ (https://www.instagram.com/watchersdiaries/) Facebook: https://www.facebook.com/thewatchersdiaries (https://www.facebook.com/thewatchersdiaries) Tumblr: https://twd-podcast.tumblr.com/ (https://twd-podcast.tumblr.com/) Tik Tok: https://www.tiktok.com/@thewatchersdiaries (https://www.tiktok.com/@thewatchersdiaries) This episode contains discussion of teen suicide as well as a relationship between a teacher and a student. If either of those subjects is triggering to you, we recommend perhaps skipping this episode and joining us next week for...BOYS IS SPEEDOS! Also, if you or anyone you know is in crisis, help is available. The National Suicide Prevention Lifeline is there 24/7. 1-800-273-8255.
On the swashbuckling finale of the Old Millennials Remember Movies SUMMER OF BRUCKHEIMER, co-hosts Tyler and Angela discuss the entirety of Disney's "Pirates of the Caribbean" franchise. Yes, we know talking about Johnny Depp is a thorny issue these days, but thankfully, the charm, spectacle and weirdness of the "Pirates" franchise extends far beyond a single actor, and it's still fair to say the character of Captain Jack Sparrow qualifies as a definitive early 2000s pop culture phenomenon. The co-hosts predictably gush about the first film, 2003's still spectacular "The Curse of the Black Pearl," a blockbuster that takes big risks and delivers against long odds. Seriously, who would've thought a movie based on a theme park ride could work? Credit to the off-kilter presence of drunken/insane Captain Jack, steady romantic leads in the form of Orlando Bloom and Keira Knightley, a scenery-chewing Geoffrey Rush as cursed baddie Captain Barbossa, lush production design, quality CGI and daring direction by Gore Verbinski. Tyler and Angela also discuss the sequels and rigorously defend the divisive 2nd and 3rd entries, 2006's "Dead Man's Chest" and 2007's "At World's End." Those Verbinski sequels are almost adversarial in their strange and twisty creative choices, and Tyler in particular loves it when filmmakers deliberately antagonize the masses. The co-hosts also recall experiencing the revamped "Pirates of the Caribbean" ride at Disney World on its opening day (much ado about almost nothing) as well as seeing "Dead Man's Chest" on their honeymoon. The Old Millennials also slog through the series weak point, 2011's "On Stranger Tides," then (sorta) defend the much-maligned 2017 entry, "Dead Men Tell No Tales." Zombie sharks! The key to a successful "Pirates" movie? Let Jack Sparrow be an instrument of chaos and let the other characters deliver key story elements. So take a listen, me hearties, and try not to be eaten by a Kraken while sinking down to Davy Jones' locker. It's the oversized finale to the summer-long look at the blockbuster films of producer Jerry Bruckheimer on Old Millennials Remember Movies! Yo ho! Also discussed on this episode of Old Millennials Remember Movies: The Green Knight (2021) Annette (2021) Cruella (2021) Reminiscence (2021) The Hitman's Wife's Bodyguard (2021) Paw Patrol: The Movie (2021) Vivo (2021) Hudson Hawk (1991)
We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, and concerns for us to address in future episodes. We hope you enjoy We Make Books! Twitter: @WMBCast | @KindofKaelyn | @BittyBittyZap Instagram: @WMBCast Patreon.com/WMBCast Episode Transcript (by Tori P) [Upbeat Ukulele Intro Music] This is We Make Books, a podcast about writing publishing and everything in between. Rekka is a published Science Fiction and Fantasy author, and Kaelyn is a professional genre fiction editor. Together, they'll tackle the things you never knew you never knew about getting a book from concept to finished product, with explanations, examples, and a lot of laughter. Get your moleskin notebook ready. It's time for We Make Books. Kaelyn: Did you get your second shot yet? Rekka: We get it on Saturday. K [mumbling]: Okay. R: ‘Cause cool people get the vaccination. K: You hear that kids? Be cool, get vaccinated. R: Be Extremely cool. Be cool like me. [laughing] I don't know if that’s selling it but- K: [laughing] R: -that’s what i’m gonna go with. K: I get mine May second. I got the moderna one so I had to wait four weeks and - R: Mhm. Yeah, I get two weeks between mine [loudly] it depends on your publisher. K: [laughing] K: Speaking of things that come in part two- R: Yep, speaking of duologies- K: The covid duology, oh there we go. R [overlapping]: Yes, well the vaccine duology, not the covid itself- K [overlapping]: Yeah. R: Because you don't wanna get covid and then long covid, that’s one duology. The duology I’m all about is the mRNA duology, let’s do that one. K: We’ve got shots part two coming up here. R: Mhm. K: And you know, in many ways the vaccine is kind of similar to a duology. The first one’s the build up, the first one’s to get you a little bit of a taste there, get your immune system going like “hey, what is this? What's going on? What's happening?” and then the second one, that’s BAM, you know? like- R: That’s when it all happens K: - fully immune. Yeah and that’s [laughing] that’s why everyone’s getting sick from the second one. R: Ugh yeah, I don’t think this metaphor’s gonna last us too much longer. But, we are talking today about duologies. K: As promised. R: Yes, we are following through on the promise, the commitment we made, to follow last episode’s trilogy discussion with a discussion of duologies, and why they are harder than the thing we made sound really hard. K: Yeah, so. You know, last episode we talked about trilogies, and how trilogies can be really challenging, and one of the things we touched on was: if you’re really having a hard time with this, maybe you don’t have a trilogy. Maybe you have a duology. So, a duology, obviously, is a series of two books rather than a trilogy being three, although quadrilogies are becoming a thing now. Four books is getting super common. So, just to clarify some things here. If you’re going “I did not hear the word duology ever, until about a year ago, or so,” you’re right, you didn’t. [laughing] This wasn’t really a very common thing. R: This wasn’t a thing, there was a book and a sequel but there wasn't a thing called a duology. K: Yeah and by the way, let’s clarify this real quickly here, the difference between a book and a sequel, and a duology. A duology is a story split up into two books. A book and a sequel is, presumably, one complete story and then another complete story. R: In the same world, usually featuring the same characters, spun off somehow. K: Yes. K: Contractual finite book series are kind of a relatively recent thing. You know, for those of you who have been reading science fiction and fantasy for a long time - especially, you know, when it first started, you know, the trade paperbacks and the pulp and everything was really popular - will know that series, especially genre series - and not just science fiction and fantasy: mystery, murder, thrillers, spy novels, war novels - R: Mhm. K: - they tended to go on infinitely. Each book would be a standalone story, sometimes encompassing a bigger arc. Fantasy, this was very common, I mean, look at the Wheel of Time - R: You could start a series, see success, and the publisher would just keep printing it because they felt like they were printing money. K: Yeah, and a lot of times what they would do is: you’d get a book published, and you’d establish a, typically a main character or a world, or - maybe something like an overarching story plot - R : or a concept at least. K: Yeah, in fantasy that was a lot more common in this sort of epic quest that was just gonna keep going and going. Lord of the Rings is actually kind of unique, in that it was a specific trilogy published at that time. That wasn’t very common. R: Right. K: You know, these epic fantasies tended to just, they just kept writing and writing, and that's why so many of them have such complicated character family histories, a lot of world building, a lot of different races and imagined and created history in them. But anyway. Then you have some of these other series that, each book was its own individual story, and they just keep going. R: Mhm. K: That is not a trilogy or even a duology, even if it ended up being only two books. Trilogies and duologies have an overarching story that it’s gonna take three, two, four, however many books to tell. But with a duology - there’s a reason there aren’t a lot of these: they’re really hard to write. A lot of times when you have a duology on your hands, you’re deciding either: do I have a standalone, single book, or do I have a duology, OR, do I have this whole trilogy, or do I have a duology. R: How much of this ends up being up to the author, and how much of it ends up being a way to market the story? Like, trilogy in general, I would imagine that an author comes in thinking: okay, I have this story and then I can see where it’s going from there and I can wrap it up in three, versus I have this story, is it too big for a book? K: You kind of hit on something interesting there and something we talked about in the trilogies episodes, is: I have this story, is it three books? Remember what we said in the trilogies episodes, a lot of them - a lot of contracts are: “we’re buying the first book of your trilogy, and then the next two are contingent on sales.” R: Mhm. K: So the first book, typically, is somewhat a self contained story. It’s enticing you to the second and third books, but if that’s it, it's a satisfactory ending. R: Mhm. K: That does not happen with a duology. Duology - R: You will not have a satisfying ending, got it. [giggles] K: You are not gonna have a satisfying ending in the middle of a duology. There is an appeal in marketing for duologyies. Some people don’t want to commit years to waiting for the next book to come out. They just want two books to be done and come out and, by the way, that tends to happen with duologies. Because it’s one big story, you probably get it out faster. Duologies, when someone sits down to write them, you tend to write the entire thing, or at least do really good draft work on the entire story, because at some point you gotta decide where to stop the first book. R: Can’t you just, like, divide the page number in half? K: What I would do usually is drop it on the floor, pick up one page, and that was the end of the first book. [pause] Sometimes it was the fifth page into the book, it was really awkward. [laughing] but you know- R [overlapping]: I was gonna say like, if I just picked up a stack of papers of a printed manuscript and dropped it on the floor, I think the cover page would be the first one I pick up. K: Well, you have to throw it down the stairs so that it gets a nice - R: Oh, you have to be specific about your method - K: Yeah, yeah I’m sorry, you’re right. R: - we’re supposed to be providing usable advice. K: Stand at the top of the stairs, face backwards with the stair behind you. You take the unbound pages, throw them over your head, walk halfway down the stairs and pick up a page from the middle stair. And then that’s the end of the first book. R: What if nothing settles on the middle stair? K: You gotta get all the pages and do it again. [both laughing] R: But you have to put them back in order first- K [laughing]: Yeah, exactly. R: - because otherwise it’s not authentic. Okay but joking aside, I think you were about to give us very good advice on how you do choose that moment. K: Okay so, this goes to why duologies are so difficult to write because stories, traditionally, have a beginning, middle, and end. Anything that you’re telling somebody, be it what you ordered for lunch, or your epic road trip doing the Cannonball Run, is going to have a beginning, middle, and end. Granted, in one of them you end up in Los Angeles, exhausted and smelling funny, and in the other, maybe you have a disappointing sandwich from Subway. K: But there is - so, in a duology, you’re not breaking this up into three pieces, you're taking something that is three segments and doing it in two. This is why they’re hard to write, because where does the “middle” of the story go? There’s some different schools of thought on this. One of the less popular, if you will, is that the first book of a duology is actually setting up the main story of the second. I don’t buy this. [chuckles] I don’t go along with that because - R: Yeah, ‘cause that’s what you were sort of saying the trilogy does. K: Exactly, yes. But also because it’s only two books, you've gotta get going here a little bit. You can’t make the reader think that they just read however many hundred pages of world building. The middle of a duology, in my estimation, should be at the of the first book. This is where everything should really pick up, and the plot and the stakes should be clear. If you finish the first book in a duology and do not have clear, compelling stakes, motivation, and reasoning behind the characters and what they were doing, that’s probably not a good place to end the duology. And if you’re going “well I don't get to that until this point,” maybe you don’t have a duology. Maybe you have a single book and it’s really long and you’ve gotta trim some stuff down. R [laughing]: I thought you were gonna say “maybe you have a trilogy” and I was like wait a minute! K [laughing]: No, no. R: I feel like I’m stuck in an infinite loop! K: No, but at that point, you may have a single book. And this is hard to - it’s hard to make that distinction of: “Is this a standalone single book or is this a duology?” So, what might make something a duology, why might you want to write a duology rather than a single book? R: This is sort of what you're describing to me is that I’ve got like a 225,000 word story - K: Mhm. R: - and there are, as you described, as a failpoint in choosing where to split them, that there’s a lot of world building. K: Yes. R: So what you seem to be describing to me is a book where the author really takes their time developing a world and developing concepts and digging deep into whatever the story elements are. K: Yes, nailed it. R: So where I break that is, I assume, where a smaller plot point that maybe had some big stakes is resolved but the overall story is not resolved. K: I’ll give you the opposite of that, what about a point at which it’s escalated? R: Well, of course by solving a thing, you’ve fucked up and made it worse. K: [laughing] K: Of course, of course. R: Of course, so that’s - that’s the solve point, is that you didn't solve anything by completing the action you thought was going to solve things. K: Yeah, so duologies have this weird balancing act where you can't backload the end of the first book and you can't front load the beginning of the second. The way these kind of work, and you have to remember that coming at this from the perspective of a reader, there are absolutely very successful books that the next in a series picks up and it’s just chaos and you get thrown right back into it. But frequently you've gotta build the story up again, you’ve gotta ease the reader back into what was going on, remind them of what was happening here, and then, typically reassess and recenter your story and characters. Because at the end of the first book, something should have happened that’s gonna require that they do that. K: So, duologies are really great for when authors wanna take their time and give a lot of attention and detail to characters, to worldbuilding, to story arcs, to history. It’s taking a long story and breaking it up into two. And so if you’re wondering: well how come there's like 700 page books in the world, why - R [chuckling]: Right. K: Yeah, “why isn’t everything just one really long book?” There’s a few answers for that. One is that some publishers are going: “No one is going to just pick up your 700 page book and read this. We need to break this up into two books.” But the other is that in some cases, those giant 700 page books, they’re really just one story. And even though I keep saying a duology is one story, you’re telling it in two parts. So they each have to have their own story elements to them. R: So there’s an intermission, the curtain drops, you feel like that could have been a mini play but it’s not over yet, you know, let’s come back to see where that cliffhanger leads us. K: An intermission’s actually a really good way to describe it. You know, think of most plays that you’ve seen or even old movies like Gone With the Wind where there was an intermission. The intermissions are not typically dead smack in the middle of the story. R: No, when you come back the story has changed - K: Yes. R: - something has shifted. I think an example of this that everyone is probably fairly familiar with, at least from Spotify, is Act I vs. Act II of Hamilton. K: Yes. R: Very very different experiences. Act I is energy, it’s building up, it’s all this hope, and then Act II is all this grief, and all this loss, and all this settling, and rediscovering hope. It’s very - K [overlapping]: I was gonna say the Phantom of the Opera. R: Yeah. K: Act I is very mysterious and almost enchanting and like wow, you know, look at this. R: Mhm. K: Act II of Phantom of the Opera, you come back and you’re like, oh this Phantom is dangerous. R: Yeah. K: The tone of everything has shifted to this sort of fanciful “oh yes haha the opera ghost, oh this is such a funny, silly little inconvenience” to “this guy’s gonna kill all of us.” R: Yeah. K: So there’s renewed sense of urgency, the stakes are much more clear - R: Mhm. K: - and there’s - R: There’s an immediate action that needs to happen in order to save someone’s life. K [overlapping]: Yes. Exactly, yes, that’s what I was trying to articulate there. [both laughing] K: So that is another good component of a duology is, by the second part of the story, something should have shifted. R: And you gotta act right away, there’s no time to open up your world and introduce characters and all that kind of stuff, you have to get going. K: The best duologies I’ve read have such a distinct difference between the first and second book, with what I think of the characters and how they’re behaving. If you Google “duology” right now, the first thing that’s gonna come up is The Six of Crows. R: Mhm. K: Part of the reason for that is because the Netflix series Shadow and Bone is being released two days after we’re recording this, and they’re incorporating elements from the duology into the trilogy. So, search engine algorithms being what they are... but I read the books; I thoroughly enjoyed them. The first one is very much a heist book. The second one is as well, but the stakes of it have been escalated to the point that it’s “oh, it’s not just that we’re stealing this thing that we want, we are now having to get stuff to save, not only ourselves, but a lot of other people from suffering a terrible fate.” R: Yeah. You said it was hard though, but then you said it was just “picking a good spot in your book to split it,” so why is that specifically hard? K: I think, where that becomes hard, is if you don’t know what you have on your hands. If you have - R [overlapping]: So it’s more in the determination of whether you should split it, or - K: Yes. R: - extend it or just publish as is. K: Well, so there’s two components of this. First is identifying: do I have a duology vs a standalone book or a trilogy. R: Mhm. K: If you have a standalone book, and you’re like “well this is just gonna be long and that’s just how it’s gonna go,” then you write the book and that’s what it is. If you’re looking at this and going “I have a duology,” there’s something in there that is indicating to you that this is a duology rather than a standalone book. A lot of times that is that breaking point, so, sometimes finding the part where the first story should stop and the second should start isn’t that hard, but then actually digging down into it and making sure that you’re telling a compelling, engaging story in both parts, can be very difficult. Because you may say “oh this is the perfect part, the door has burst open, everybody’s gasped and we’re cutting it off there.” Is that the best place to end your story? Or do you go to the Pirates of the Caribbean route and reveal that it’s Captain Barbossa coming down the stairs at the end. R: Mhm. K: And intrigue the heck out of everybody else. R: I feel like we could do a whole episode on reveals, so maybe we’ll - K [laughing]: Yeah, maybe we will. R: - just put a pin in that one ‘cause I wanna talk about that but let’s do that in another episode. Okay, so is that a matter of how much satisfaction you are willing to give your reader at the end of book one, versus just lopping it off where it is the most convenient between what is essentially the midpoint of an arc that can feel like a partial arc or a semi completed arc. K: So I think with duologies, there’s a lot more leeway to, I don't wanna say mess with, but to play with - R: [giggles] Be honest, we are messing with our readers. We are always messing with our readers. K: [giggles] - to play with reader expectation because people who are reading a duology presumably understand that what they’re reading is part one of a story that’s gonna be told in two parts. R: Do we know when we have a duology though? Is it made very clear when the first book is released? ‘Cause I don't feel like it is. K: I think that’s a matter of advertising and publishing. Most duologies that I’ve come across, and by the way, this is very common now in publishing because they plan much farther ahead than they used to. The series are finite, you’re contracted for this much, so typically, before a trilogy or duology is actually released, the series already has a name, the books might say, you know, definitely in their description and Amazon and Barnes and Noble, if not on the book itself, book one of however many in the series or book one of the such and such duology, book two of the such and such trilogy. R: I would say that there are as many new books on my shelf that do not indicate how big the series is going to be as there are that do. K: Mmkay. But in Amazon - R: In fact - well maybe in Amazon but you can only create series on Amazon when you have more than one book in it. You know what I mean? K [overlapping]: Yes, yes. R: So - K: But in the description a lot of times it will say that, the cover copy could say that. Publishers sort of expect at this point that anybody who really enjoys a book or even things that they’re thinking of reading, they’re gonna go research it, and, if nothing else, the publisher will likely have something on their website or some description about how long the series is going to be. R: You give the reader a lot of credit for researching a book. K: When you go to pick up a book, and it’s clear that it’s a series, you don’t go and see how many books it’s gonna - R: [overlapping] You think it’s clear that it’s a series, that’s the part I’m debating. I cannot tell you how many books I’ve picked up only to find out - I’ve got one right around here somewhere - I picked up this book - K: [speech garbled through laughter] R: Endgame by Anne Aguirre. K: Yep. R: “A Sirantha Jax novel” is all it said on the cover. To me, that did not indicate that this was the last book in a six book series. I read the last book first. K: [laughing] R: And I read it anyway even though I figured out within a few chapters that it was the last book in a series. But I have done this my entire life. You’d think that, after a few, I would learn. So what is it that does not indicate anywhere on here, that this is a long running series, this is book six in a series? I picked it up because of the cover art. That is always what I do. K: [laughing] R: And there was nothing on this to indicate it was book six out of six. That - it was called Endgame and I did not understand that it was endgame of the series. K [laughing, overlapping]: Yeah, I’m starting - I’m starting to think that - R: So you may be doubting me, but I’m just saying, I consider myself a fairly intelligent person, I would like to think. K: [laughing] R: But on a bookstore shelf, this was the only one there, the bookstore didn’t put out the other books next to it, you know? So why was I supposed to know that this was from a series? There’s literally nothing on here that says “by the way, you picked up a book that’s part of a series, you might wanna go check out book one.” K: Well, I will say that’s bad marketing and bad work on the publisher’s part. R: But I wasn’t exposed to the marketing, other than the cover. I was not exposed to the marketing, this was before I started writing and publishing. So - K: But the cover is marketing. R: No, I understand that. The cover is product design and marketing, just like the box for a microwave would be. So yes, this was supposed to be marked as book six. If I had seen “book six,” I might have looked for book one. But Ace Science Fiction, an imprint of Penguin, did not deign to make any sort of indication on the outside, presumably because they thought it was pretty clear because of course you’ve heard of Anne Aguirre and of course you have heard of the Sirantha Jax novels by then. But I hadn’t, so I picked up book six in a series and I read it without any backstory, and I really did feel rather dumped into a world that other people knew about. K: How was it? R: Um. It was fine. K: So, here’s what - R [overlapping]: Some things were not my mode but that’s okay. K: [laughing] R: It’s still in my shelf so it can’t be that bad. K [laughing]: Okay, fair. Yeah, listen, the - how do you know that something is a duology, a trilogy, a what have you? R: And is your publisher making the conscious choice to not indicate that? K [overlapping]: That’s very possible- R: - do they think they are indicating that, you might wanna run it by your grandma or - K: Rekka. R: - somebody who hasn’t - K: [laughing] R: picked up a book off a shelf apparently without ever failing to pick up the third book in a series. K: You did tend to to do that quite a lot. R: I did it a lot as a kid, I think - I picked up The Babysitter’s Club at book number twenty-four and I guarantee you that bookstore had all of them. K: Wasn’t that all like, standalone stories, kind of, though? R: Well they were procedural in that every book started with the main character’s POV introducing all of the babysitters in the club, and giving them some tidbit to characterize them that was also a little bit of backstory from one of the other episodes, and - I mean they really were episodes, they were not so much sequels as episodes - and then you’d go into the meat of the story, and everything would return to normal, there might be small developments and like, there was continuity through the books but the characters got older, they added new babysitters to the club, some left, you know, stuff happened and then it didn’t unhappen at the end of the book. But even though, yes, any book would have been an entry point in the series, I guarantee you I just picked up a book from the middle of the long, very uniform looking line of Babysitter’s Club books, and this one was about a cat, so - K: Aw, kitty. [giggles] R: - I got that one. ‘cause Tigger ran away and was missing - K: Aw :( R: - so that was the first book I read out of that series! And then I read them a lot, this was my first experience with sequels, so it’s no wonder that I have no problem imagining that you would stick with a world forever and ever and ever and never write anything else. But I also read the rest out of order. K: Yeah. R: Like I had no respect for the concept of “oh! I should go back to the beginning and read forward,” that - I read number ten and then I’d read number eighteen, then I’d read number two; I just didn’t care. So it’s interesting to me, like, yes that was me at age twelve - K: Well, also - R: - that was very different from an adult reader, but as an adult reader obviously I have continued this. The Chanur saga, I think I read book two before I read book one, I didn’t care. Plus, if the book’s written well enough, you get introduced to it and you don’t lose anything for not reading the first one first in a series, an intentional series, but here we come back to the idea of duology; if you pick up book two in a duology, you have missed some shit. K: Yeah, and I completely disagree with you, and this may just be - R: [laughing] Of course you do. K: No, this may be just a compulsive thing on my end: I can’t not read a series from the beginning. R: No, see, I am completely all about my organizational tics, but for whatever reason, growing up, reading books in order was not a big deal to me. And I think a lot of it had to do with the fact that I was not aware that if I asked the bookseller to get me book one because I was picking up book two and I wanted to start from the beginning, that I would have it pretty soon. Like, in my head, that would be - K: Yeah. R: - weeks and weeks and weeks of waiting. Plus, in my head, it probably cost more. Like I thought I would have to pay for shipping, I thought I would have to pay for a book that would, like he’d charge me twice as much just because I wanted it. K: And see that’s just - R: And also I would have to speak to a human and ask for something which I was very much not all in for, so. K: And this just goes to show how funny and different we were as kids, because I remember there were book series that, I would go to the library and I would - this is, I’m about to demonstrate something about myself that I have kept secret - I’ve read all of the Wizard of Oz books. R: Oh, cool! I always meant to. K: And - they’re interesting. [chuckles] and my library didn’t have book seven, out of, like I think there’s like ten or twelve of them in the series, and I had to get it from my county’s huge central library, and my mom was like “well, just get book eight!” and I was like I can’t, I can’t do that, I will wait two weeks for that book to get here - [both laughing] K: But something like - okay, well, getting back on track [chuckles] here, something like The Babysitter’s Club, as you said, each book - the reason the POV character is introducing everyone is there’s a lot of books in this series. The Boxcar Children was like that; the first one is about a group of relatively young children running away from some abusive family member and deciding to live in an abandoned boxcar in the forest, and then eventually their wealthy grandfather finds them, and then every other book is about them solving mysteries [laughing]. R: Oh! Okay. K: The first book is like a weird survivalist book and then every other one is just them [through laughter] travelling with their grandfather and solving mysteries. R: At least the continuity is intact. K: But with duologies, we’re gonna assume that this is a known duology - and I couldn't find any example of this, I swear I did look - a duology that started out intentionally a duology but then became a trilogy after book one was published. I couldn’t find any examples of it, I’m sure it’s happened but, in theory, especially in publishing and especially with contracts being what they are now, you’re going to have - especially for a duology - a contractual set of the books that are going to be in it, the two books. You may even have some specifics in there about book one: this stuff has to happen, book two: this stuff has to happen. Publishers are a lot more hands on with these kinda things now, because before it was just like “cool, you got another one? cool, you got another one? Alright, let’s get the next tale of the otherworldly alien investigator who came to Earth to find the stolen gem of her people but solves mysteries along the way.” K: So, with a duology, and with where the middle of this is, and what you can play with with reader expectations. I would say you absolutely have a little more leeway. “What if they don’t know it’s a duology?” Well, that's on the reader. I don’t - there’s no good answer - R: Or is it on the publisher and their marketing department? [laughing] K: Or that. The thing is that you could stick right on the cover: Book One of the, you know, We Make Books Duology. Maybe someone doesn’t read it, there’s no way to make everyone understand what this series is going to look like. I never buy a book before I know, you know - is it a trilogy that I’m getting myself into here, is it a duology, is this just gonna keep going on and on forever? I understand not everyone’s like that, most people are far less - what’s the word I’m looking for here - less fussy than I am. [laughter] Some people are just pure chaos like Rekka, who walk into bookstores, pull something off the shelf, and just go “look’s good!” [laughter] R: I’m here for a good time! [both laughing] R: Look, I’ve found a lot of books I liked that way. K: Yeah! No, that’s great. R: Mhm. K: But I remember going to Barnes and Noble back when I was in high school and college and we used to hang out there, and they would always have the table of the $5 books - R: Mhm. K: If they didn’t have books one and two and this was just book three, I wasn’t gonna pick it up and read it because I needed to know how it got there [laughing]. I think with duologies, you definitely have a little bit more room to play with that because the understanding is that this is more like a first and second act. And the reader should understand that: “you’re being presented half of a story, the second half is coming.” And there’s a difference between having halves of a story versus having to present a whole coherent story like you have to when you get into trilogy mode. Because if you’re breaking up a story into three parts, the first part is going to be really dry if you’re just telling one long, giant story. R: Yeah ‘cause that’s set up still, that’s just pure set up. K: Yeah. Find a 700 page book. Go to page - what would it be? - 233 and, in that area, decide if you think that’s about a good place to end a first book that seems like a good story has been told. Now conversely, I would say that picking up a 700 page book and going in the middle could go either way. Depending how the story’s structured, maybe that is an interesting middle-halfway-stopping point. There’s a good chance that it’s not because standalone stories tend to be backloaded. R: Right. K: Most of the action, adventure, and intrigue, happens in the last third of the book. R: I would even say - K: Last quarter? R: Last quarter of the book, yeah. K: How do you know if you have a duology vs a trilogy vs a standalone book? R: Someone tells you. K: [laughing] You know what? Honestly, that might be the answer. [both laughing] K: That really might be the answer. R: Please, someone tell me! K: [laughing] K: An agent, a publisher, a good friend who reads your stuff might say: “This isn’t a standalone story, this is two books.” You know, with a trilogy it’s a little easier. Are you having trouble filling the middle book? Are you having trouble figuring out what’s gonna happen in book two, and are you just coming up with stuff because you need to create - R: A third book, yeah. K: - about 300 pages of content so that you can get to the third book? That’s a good indication that maybe you don’t have a trilogy, maybe you have a duology. For a standalone book, it gets a little harder. One is length. There aren’t a lot of 700 page books published anymore and, depending on the genre you’re writing in, there might be none of them. Fantasy tends to have a little bit more tolerance for that kind of length - R: We wouldn’t have the phrase “doorstopper” in our current lingo if they weren’t really happening anymore. I think they are still happening. Like you have Jenn Lyons. K: Yep. R: Jenn Lyons writes some big books and there’s like, five of them [giggles] in a single series. K: But you brought up a very interesting point: why we have those doorstopper books. Because, for a publisher - first of all, a duology however many years ago, even a decade ago, that was not a very common thing. R: Mhm. K: But if you had a long story, and especially if the publisher was uncertain about it, it was cheaper and less of a risk for them to just do a giant run of one big book, rather than two smaller or three smaller ones. R: Okay. Because you lose readers as you go further down the series. K: Well you lose readers, but there’s also overhead. R: Right. K: It’s cheaper to publish one giant book than it is to publish two smaller ones. R: Right because you need cover artists, you pay the printer for each one of those sets, you print a minimum quantity for each of those, yeah. No, I’m not arguing that with you, I’m just saying like - K: Yeah. R: - one of the considerations is also to be: how will you be able to earn that back if you lose 20% of the readers each sequel down the line. K: Yeah, exactly. There’s a lot of factors in why publishers might say, “nope, this is just gonna be one giant book.” R: No, there’s one factor: it’s money. [both laughing] K: There’s a lot of factors that go into the money factor. [laughing] R: The accountant is taking many things into consideration. K: Yeah [laughing]. Touché, Rekka. R: Mhm. K: But, if you’re writing this story and there is a lot of stuff happening in the first half of the book that is then still not resolved when you’re getting towards the end, you might have a duology on your hands. Now granted, you may be like: “Oh well it’s only 180,000 words.” Well, yeah, maybe you gotta write a little more and flesh this out a bit. The times that I see books where I tell myself this should have been a duology - or authors that I’ve spoken to - are when I'm having trouble keeping track of everything that’s going on because you’re packing too much into this. The best case for a duology is when the reader is feeling like they’re being bombarded with information without proper time to absorb it and apply it to the story. R: So are you squeezing everything into one side or the other of the fold which is the tear that becomes the intermission in your duology. [both laughing] K: Yes, exactly. R: That’s the official term for it. K: Yeah, and look, there’s - thankfully in publishing, there’s no standards, there’s no ‘we always do it this way’, ‘if you have this then it’s this,’ no one is going to go: “Sorry Random House, you’re not allowed to publish a 700 page book.” They can publish whatever they want, so if they - R: I mean there is a point at which the book is structurally unsound because it’s more spine than cover. K: [laughing] Yes, alright, fair, fair. K: You have leeway, and publishers have leeway for this, and really, there is no correct answer except: what serves the story best? How is this best told? How are you best engaging the reader? In some cases - I’ll use The Six of Crows as an example. I don't think that book works if you take the two halves of that, smoosh it together, do a little creative bridging in the middle, and just present it as one giant book. It doesn’t work. The tone shift between the two is so important that there’s intermission and that you come back and you’re like: “Oh boy, what’s gonna happen now?” R: Okay, so is that - do you think that’s a critical part of it? Do you have to do that, or you think it just happens naturally because you’re taking a break from one story and coming back with the second piece? K: I think it tends to happen naturally but, at the same time, this is kind of going into what we were talking about last episode with book two of a trilogy which is: you can’t tell the same story all over again. So presumably at the end of book one, enough has happened to the characters and the story arc where things have changed. So, by virtue of that alone, book two is going to be different. R: Right. K: I’ll make the argument, in a trilogy the same thing’s gonna happen. The tones of the books as the progress should be getting more urgent or darker or more mysterious, hopeful, whatever you’re building towards - R [overlapping]: Sort of like an adventurous story to a, like the fate of the world - K: Yeah. R: - literally the fate of the souls of the world are at stake. K: The stakes should be being escalated, the characters should be very clear in their motivations. The plot should be very clear cut at that point and there should be a clear point to which the characters, the objects, the McGuffins, the story is moving towards at that point. The end of book one, the reader should have a very good idea of what the objectives are of book two. Now if they work out that way or not, that’s up to the reader, you know, maybe throw a twist or a loop in there or something, and the plan never goes according to plan because plans shouldn’t go according to plans in books - R: Right. Right. K: But the reader should have an idea of what they’re in store for in book two. Even if it’s not how that ends up going, the characters should be telling them: “Okay, we've gotta do this.” R: Mhm. Aaaaaand cut. [both laughing] R: “We’ve gotta do this, and we’ll see ya in a year.” K: Well, you know, duologies tend to come out a little closer together because, as I mentioned, the overall story is frequently written at the same time. And then maybe - okay you’ve done a lot of work on the first book to get it published and now it’s time to do that, but a lot of times it’s written already, it exists - R: Whereas they really throw writers out and to the wolves for their trilogy like, yeah, we’ve signed you up for a trilogy, how’s that coming? “Uhhh, I don’t really know how it’s gonna end? But it’s great?” K: You also get all of these contradicting things of: don’t tell them you’ve written all three books already; no, tell them so they know that they’re done; okay, but we just really want book one to have a nice conclusive ending, so I’m gonna need you to rewrite the end of that and then retool the beginning of the first two and figure how that’s gonna fit into the third. R: And you better hope that the first two sell well, or you don't get to see the third. K: Writing’s hard. R: Yeah, so that’s a big part of it though, I never considered that when you sign a duology, you might have already talked to the publisher about where the pair of books is going to go. K: Yeah, nobody writes a duology with the understanding of: “You need to have a nice neat ending for book one. [laughing] We’ll see how that -” I shouldn't say no one, I’m sure it’s happened. But I would argue in that case that that’s not really a true duology; that’s more of a couple standalone books. R: So a short sequel run - K: Yes. R: - of a single world. K: Yeah, exactly. R: So, going back to your definitions then. [happy go lucky ukelele music] Rekka: [sing-song] Definitions! Rekka: And listeners, Kaelyn doesn’t know what I did with that, so don’t tell her. So I think we need to reset our definition because you were defining it earlier in the episode and, to a degree, it felt like you were defining it as a single story divided in two pieces, and then later you said it was not a duology if it’s not a single story, but then, kind of maybe it is? I’m a little confused, so start over. Kaelyn: SO definitions of duologies and trilogies. The actual definition of them is: “however many stories - two, three, four - of related work in a group.” So this might be the same story, the same world, the same characters. What they typically do is they say: “If you’ve written three books, they’re all about an alien investigator but they’re all individual stories” - Alien Investigator Trilogy. Duology, same thing. Technically any three books or any two books or four books, or whatever you wanna call it, is a “that.” Now, at a certain point - and I don’t know where this point is - I think you stop applying the duo- tri- quad- etc. to it and it just becomes a series. Now, from my side, what really defines a duology or a trilogy is the intent of the overarching story plot. That you didn’t just write three books because you had three stories in you so it ended up being a trilogy. You didn’t just come up with two stories and now it’s a duology. K: There’s some - I won’t say argument about this, but I think it’s something that we see more in publishing now, that if you're contracted for a trilogy, the presumption is going to be that the trilogy is three books explaining a single story. It’s a single story arc. It may take a long time to get there, but - R: Mhm. K: - if they’re signing you up for three books that’s in the same world but not in the same story arc, that’s a three book contract, that’s not a trilogy contract. R: Okay, fair. K: So that’s the distinction I would make. That said, by broad definition, duologies - trilogies, we’re just obsessed with the number three? R: It’s a nice balanced number, you know? K: Yeah. Three and seven. But I think this goes back to the ease of the beginning, middle and end. And that’s where I think trilogies and duologies really shine through is this intentional story of : It’s gonna take me this long to do it versus just writing books and however many you end up with, adding that number label to it. I would say, something like a duology contract vs a two book contract, and I don’t know that I’ve ever really heard of two book contracts unless [laughing] it’s a duology. R: But I have seen a lot of contract announcements, book sale announcements lately that said: “So-and-So’s Title plus an unnamed future book.” K: Yes, but those would likely be standalone books. R: Right, but it’s still a two book contract. K: Okay, fair. R: As opposed to just saying future works - K: Yes. [laughing] R: You know what I mean? K: Yeah. And so by the way, what we’re talking about here - and I know we’ve touched on this in previous episodes, specifically the contract ones - a lot of times if you sign on with, sometimes an agent, usually a publishing house and they really like what you have and think you have the potential to grow a fanbase, they’re gonna try to lock you down. So they’re gonna say: “Cool, you’re gonna write a trilogy and three books to be named later.” It’s like signing athletes to multi-year contracts, a lot of times you have to take a chance on somebody after college or, sometimes in the NBA, right out of high school. You don’t know how they’re gonna perform, they’re gonna need training, they’re gonna need help. So you have to put the time and investment into them and you wanna make sure that if they turn out to be really good they’re not just gonna go “Hey thanks but I’m gonna go to New York because they’re gonna pay me twice as much as you did.” R: Right, right, now that you’ve proven yourself. Now it’s good if you get a multi book contract from a single publisher and maybe your debut launch isn’t as strong as you hoped, and it takes two books to kinda gain some traction. That’s good for the author but - K: Yep. R: Like we said, if the other team would have paid you twice as much, now you’re stuck selling your book for debut prices. Which, okay yes, we’ve all heard about the debut windfalls, but debut authors don’t typically make a whole lot of money. K: [overlapping] Yeah, there’s a reason you hear about them, it’s because they’re a big deal. R: Yeah, it’s ‘cause they’re outliers - K: [laughing] R: - much like all things we make a big fuss over, ‘cause we love a rags to riches story. K: Yeah, so that’s why my clunky - and this is personal, sort of clunky definition of this - but I would say that that is certainly the trend of where you’re seeing these definitions in publishing is: if you’re signed on for a trilogy, the understanding is that it’s going to be a three book story arc, if it’s a duology, it’s gonna be two. K: When Rekka and I are finished here, I’m going to go sit down, pour myself a glass of wine, and finally try to finish the fourth book of The Ember and the Ashes quadrilogy. That’s one that I really thought was a trilogy, and I don’t know what happened there, I don’t know if it changed and they were like - R: Aha! K: - “ah we’ve got more story to tell here” - R: They got you, too. [giggles] K: Yeah, they did get me on that one and I had to wait for quite a while for that book to come out and I just, I need to sit down and get into it, you know? [laughing] R: Alright, well let’s wrap it up. What the heck are we talking about when we say it’s harder? Did we give concrete advice on how to tell? And you can say, like, yes, I feel like I did. K: I feel like I did and I think I didn’t because sometimes, as you mentioned, someone else is gonna have to tell you. I think it’s easier to tell if you’re working on a trilogy that, maybe it’s a duology. Because I think when you’re hitting a wall with the trilogy, trying to come up with ways to fill the middle, that’s a good indication that you actually have a duology. R: And now that’s gonna be harder to write because you said so. K: [laughing] Yes. R: Congratulations, you just leveled up. [both laughing] R: You had a hard time filling a middle book, now you’re gonna somehow make it worse by trying to fit everything across the divide of an intermission between two books. K: [laughing] Yeah and, to go back to what I said - R: So you’re welcome. [both laughing] K: To go back to what I said about the standalone, I think a good indication there that you may have a duology on your hands, is if you feel like you’re sprinting through information, and you’re feeling like you’re having to take things out to stay within whatever you consider to be a reasonable word count. If you feel like there’s more story there - and writers, I know you always feel like there’s more story there - if you feel like you can’t tell the story and that it’s going to be confusing, or that it’s going to lack context or information or character development or anything, that’s a good indication that you might have a duology. Because what that’s indicating is that you have a lot to show the reader, and duologies give you great room to do that. R: So here's a thought I just had. K: Uh oh. R: You mentioned word count. K: Yeah. R: So if you’re drafting, you don't know how many words you’re gonna end up with necessarily. Is this a decision you make during revisions? K: Listen, there’s no definitive “this is a duology” time. R: [giggles] K: No one’s gonna bring you into a room, put the Sorting Hat on you and go: “Duology!” [laughing] R: So it’s not going to suddenly smack you in the head. K: Some people absolutely set out to write duologies. They say: “I have a story that I am gonna tell in two parts.” Some people draft the whole story and go: “This is too long for a single story, or this is too short for a trilogy, maybe I have a duology.” I feel like with duologies, unless you set out to intentionally write one, you're going to have to figure it out organically somewhere along the writing process. R: Here’s another thought. K: You’re just full of these today. R: Yeah, sorry about that. I will stop, next time I won't have a single one, I promise. We’ve been mentioning word count a lot as the moment where you realize you might have too much or too little, but could it also be story elements? K: Absolutely. R: In that, I could wrap up some of these plot elements in one book, but not the whole thing, and that there’s an equal, if not mathematically equal, number of plot elements that could wrap up if I kept going in a second book. I mean, basically, it’s all magic, right? K: Yeah, absolutely. There’s no definitive answers here unfortunately, like so much of this. I hope if you’ve been listening to this podcast this whole time and you have come here for somebody telling you: this is how it always is, you figured out a while ago that you’re in the wrong spot. [both laughing] R: Or that you still have to trust our word. Just grab a big glass of wine and go read a book. It may or may not be the last in the series, we don’t know. Nobody knows! K: We don’t know, nobody - what is even time by now? [laughing] R: Alright, so duologies are hard, trilogies are also hard, standalone books are hard. Have I covered it? K: Everything’s hard. R: [overlapping] Got it. Okay, cool. We did it. K: But they’re all hard for different reasons. [laughing] R: Oh, now I get it. Okay. K: Yeah. Yeah. R: Now I get it, alright. So the point is: you write the story. Hopefully, either you know how many books you’re supposed to end up with and you can calculate out from there how you’re gonna write the story. Or you write the story and you break it up into the number of books it demands that it should be. K: Exactly. R: Or that your publisher demands that it should be. [chuckling] K: My advice to people always is: write the story. Just write it. Then take a step back and see what you have. R: [overlapping] Then do the math. K: There’s no formula for this, there’s no ‘this must happen at this time.’ If I had astounding amount of money to just throw away at whatever, I swear I think I would hire people to select books from different genres and map out common elements of them and put them into some sort of excel spreadsheet where I could make a nice pivot table, and see where these common element points occur, and I guarantee you almost none of them would line up. R: Okay, I know there’re people who would disagree, but we’ll have to have a debate episode sometime. K: [laughing] Excellent, excellent. R: So, wrapping it up, write a damn story. It’s gonna be hard enough to get it published anyway, don’t worry about it. K: It’s gonna be hard enough just to write the thing! [both laughing] K: So just write it and then work from there! R: [overlapping] Okay- K: Tell the story you want to tell. R: - so with that sage advice, I probably shouldn’t tell you that you can find us on twitter and Instagram @WMBCast and on Patreon.com/wmbcast, which you are definitely not gonna want to support after listening to this one. K: [laughing] R: But it would be helpful if you could leave a rating and review on Apple Podcasts, and remember to subscribe using whatever podcast app you like. And we will see you in two weeks with another poorly formed episode discussion. Thanks everyone. K [laughing]: Thanks everyone.
We Like Pirates. But would we be good pirates? Think of all the good could Captain Barbossa do if he loved Jesus? Why would Jack Sparrow be a great student coach?
In this bonus episode of All2ReelToo we have an All2Interview with legendary character actor,Lee Arenberg. Arenberg is best known for his role as Pintel, one of Captain Barbossa's crew, in the Pirates of the Caribbean film series and his role as the dwarf Grumpy in the television series Once Upon a Time. Arenberg has appeared in more than 30 movies, including Cradle Will Rock (1999), RoboCop 3 (1993), Waterworld (1995), Bob Roberts (1992), The Apocalypse (1997), Cross My Heart (1987) and the fantasy adventure feature Dungeons & Dragons (2000). Guest appearances on television began in 1987 with the hit sitcom Perfect Strangers (1986), and have continued with memorable roles such as the parking space-stealing New Yorker on Seinfeld (1989) and as the murderous rock promoter opposite Katey Sagal and Sam Kinison in Tales from the Crypt (1989), as well as roles on Arli$$ (1996), Friends (1994), Star Trek: The Next Generation (1987), Star Trek: Deep Space Nine (1993) and Star Trek: Voyager (1995). Arenberg can also be seen in the role of the notoriously huge studio head, Bobby G., on the controversial syndicated comedy Action (1999) opposite series star Jay Mohr. We had a greatly inspiring conversation about his career as well as current issues of the world and life in general. Listen, Rate and Share the show!!!! Check out the following links for more info on Lee Arenberg and his films and TV work. https://www.imdb.com/name/nm0034305/?ref_=nmbio_bio_nm https://en.wikipedia.org/wiki/Lee_Arenberg Check out some cool music by host Matthew Haase at https://youtu.be/5E6TYm_4wIE Check out cool merchandise related to our show at http://tee.pub/lic/CullenPark If you can during these troubling times make a donation to one of the following charities to help out. https://www.directrelief.org/ https://www.naacpldf.org/ https://www.blackvotersmatterfund.org --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/all2reeltoo/support Learn more about your ad choices. Visit megaphone.fm/adchoices
Today on Too Opinionated the boys talk with actor Lee Arenberg! Lee Arenberg has the remarkable ability to morph himself into frightening aliens, twisted psychotherapists, lascivious entertainment executives and everything in between. Best known for his role as Pintel, one of Captain Barbossa's crew, in the Pirates of the Caribbean film series. He also had a recurring role as the dwarf Grumpy in the television series Once Upon a Time. Lee has appeared on Seinfeld, multiple Star Trek shows and the movies Cradle will Rock, Robocop 3 and Dungeons and Dragons. You can watch on YouTube at Meisterkhan Pod. Reaching over 5 million monthly in 40 countries, Too Opinionated is your next obsession. Want to donate? patreon.com/meisterkhan Check us out on Facebook: @Meisterkhan
Johnny Depp as Jack Sparrow heads the charge in Pirates of the Carribbean: The Curse of the Black Pearl. With the help of Keira Knightley and Orlando Bloom, he takes on Geoffrey Rush (and crew) as the sinister Captain Barbossa. Join Adam and Andy as they discuss the Disney sensation that launched a thousand ships! Yo ho ho and a bottle of fun!Show Notes:What We've Been Watching:Adam: Chain Reaction, Boogie NightsAndy: Crocodile Dundee, A Fish Called Wanda, Hotel Artemis, The Vast of NightChapters:(~0:09) Introduction(~0:41) What We've Been Watching(~10:02) Featured Review(~31:48) Up Next(~33:29) ClosingExtrasSound and Tension in Boogie Nights's Drug Deal SequenceSubscribe if you'd want to see more episodes.Feel free to send us a question we can answer on the air to ReelShame@gmail.com or follow us on Instagram @ReelShame.
Ahoy! In this week's episode of All Ideas Are Bad Ideas, Ellie and Jessie set sail on the Black Pearl while chatting about the surprisingly good first installment of the Pirates of the Caribbean franchise. They discuss the inscrutable rules of magic, the issues of strict socioeconomic hierarchy, and the Ultimate Bad Idea. They also discovered Captain Barbossa's first name, and it is a doozy.
Welcome to Reely Rated, the Movie Review Podcast that breaks down the Good, the Bad and the Underrated movies out there.In the first Movie Review episode Jess teaches Mitchell how to pronounce words, Mitchell tries to convince Jess that Captain Barbossa isn't a 'Bad' Guy & both Hosts try to figure out why was there a Goat-on-a-boat? Make sure to send us your own Reviews & Questions to reelyrated@gmail.com
Yo ho yo ho a pirate's life for us.Gaaaah me hearties! Ahoy there! This be Em and I be joined by me co-captain for this voyage across the seven seas, Sade from Offscreen Babble. It might be trifle bad luck to have women aboard yer ship, but avast! We batten down the hatches to reach that horizon, stoppin' off on islands filled with Aztec gold and copious amounts of rum, where we will always remember the day we met Captain Jack Sparrow, savvy?!Thar's blood, scares, violence and enough sexual tension to make the lily-livered faint. Be ye sure t'is a Disney movie?Don't end up in Davy Jones' locker! Hoist the Jolly Roger with us on the fastest ship on that there ocean - the Black Pearl! But be warned, there be a curse on this here ship, so watch out for Captain Barbossa and his mutinous crew!Are ye aboard? Say AYE!(The boring non pirate bit!)Massive thanks to Sade for coming on the show. You can find Offscreen Babble on Twitter @offscreenbabble, Facebook @offscreenbabble and Instagram @offscreenbabble and you should follow & listen to Sade & Kyle if you don't already!Their Etsy store is available at https://etsy.me/2Rxqqtc - please support them and buy one of Sade's amazing pins!I would love to hear your thoughts on Pirates of the Caribbean: The Curse of the Black Pearl! You can get in touch onTwitter @verbaldioramaInstagram @verbaldioramaFacebook @verbaldioramaor you can email me general hellos, feedback or suggestions:verbaldiorama@gmail.comYou can rate or review the show in iTunes or at Apple Podcasts and I'd very much appreciate that!If you'd like to buy me a coffee, you can do so at https://ko-fi.com/verbaldiorama My website is at https://verbaldiorama.comAlso thanks to the following people for their contributions to this episode:@vegimorphAndy @geeksaladradio@alwayscriticpod@FalseStartsPod@BoxOfficePulp@TheMidnightMyth@hugosposts@salexanderfilm@CaitDoes See acast.com/privacy for privacy and opt-out information.
Let’s all go to the brothel and get ourselves a new Pirates of the Caribbean film! Join us for this episode as we ditch the usual format and dive into the breaking scallywag news and discuss rumors about Pirates of the Caribbean 6, the first film in the franchise to potentially not include Johnny Depp’s Captain Jack Sparrow, contemplate the state of the film franchise without the original cast including Will Turner, Elizabeth Swann, and Captain Barbossa, turning a new leaf and appealing to the next generation with Henry Turner and Carina Smyth, the hypothesis that Davy Jones returns based on Dead Men Tell No Tales end credit scene, and we ask the question if Disney would introduce Redd from the Pirates of the Caribbean attraction as a Jack Sparrow replacement while doubling down on female empowerment in films. Don’t forget to enter of 2nd Annual Listener Appreciation Contest – all the details on our Facebook page. Contest open until April 16th, 2018 at 11:59pm PDT. Thank you for listening to this episode of The Black Pearl Show (Pirates of the Caribbean Minute)! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute (Black Pearl Show) on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Instagram: https://instagram.com/blackpearlshow Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
Happy early International Talk Like A Pirate Day!! To celebrate, we are pitting two of fantasy's roughest pirates head-to-head with a task to steal a cargo ship. Listen as Steve and Chris argue whether Captain Barbossa's mutiny leading skills, or Dread Pirate Robert's charm will lead victorious. It's the Pirate Lord of the Caspain Sea vs. the man who takes no prisoners. Listen to see Who Would Win?! Did you agree? Did you disagree? Reach out and tell us because we want to see. Please follow us on Facebook, Twitter, and Instagram @WhoWouldWinCast Feel free to submit your ideas for future match-ups!
Captain Jack Sparrow is reunited with the Black Pearl and it feels so good in this episode of Pirates of the Caribbean Minute. Join us for minute 133 of The Curse of the Black Pearl as we discuss the theme park ride bride auction controversy, Jack getting the metaphorical girl (Black Pearl) and giving the breast-shaped wheel handles a caressing, the spreading of the idea from Captain Barbossa that rules, laws and the pirate code are mere guidelines to be bent and broken for noble reasons, Jack is a captain of respect and gets his hat back, the big problem with Anamaria’s actions towards Jack Sparrow in the final moments of the film, the last swashbuckling stunt in the movie, and the powerful “Now bring me that horizon” line. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
Let the executioner’s drumbeat commence and Heather’s sickness prevail on this episode of Pirates of the Caribbean Minute. Join us for minute 125 of The Curse of the Black Pearl as we discuss getting lost in the movie and talk Captain Jack Sparrow being bored and obnoxious – interrupting Will Turner and Elizabeth Swann’s moment, Will’s missed opportunity to kiss Elizabeth, Jack’s horde of gold mementos, Jack losing the Black Pearl and its link to Captain Barbossa’s lost Aztec gold, the man behind the Town Clerk character (Owen Finnegan), and we try to uncover the history of a drum cadence played during executions. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
In today’s episode, we mourn the tragedy of Captain Hector Barbossa on Pirates of the Caribbean Minute. Join us for minute 122 of The Curse of the Black Pearl as we discuss the emotional rollercoaster ride of our characters Captain Barbossa, Captain Jack Sparrow, and Elizabeth Swann in the moments surrounding the end of the curse, give some love to the minimal use of dialogue and breakdown the impact is has on Barbossa’s death, put a spotlight on the musical score accentuating the scene, thoroughly tackle the plethora of symbols from the apple to the shot and hole in Barbossa’s heart and its meaning to his humanity and life, draw significant comparisons to Snow White and the Seven Dwarfs, and talk about the reasons for our affection and growing attraction to Barbossa the tragic character. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
It only takes one Freudian slip to shower our sense of decorum with fire and brimstone. Join us for this all hell breaks loose episode of Pirates of the Caribbean Minute as we dissect minute 121 of The Curse of the Black Pearl. It’s the big lead up to the climax of the film as we make a case that minute 121 is a complete mini-movie unto itself, we thoroughly discuss the dynamics between Will Turner and Elizabeth Swann as they spear and blow up cursed crewmen Clubba, Jacoby and Monk, a couple of awkward moments that include Will and Elizabeth acting with animated skeletons and an editing misstep, admire the artistry of the directing and cinematography in a few standout sequences as Captain Jack Sparrow throws the medallion to Will, unleash Revelations and the apocalypse as we rain hellfire on Captain Barbossa’s reference to Judgement Day, and highlight our favorite lines from the last five minutes in the weekly segment Really Bad Eggs. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
Never forget the Captain Morgan since you will need the rum as we light the cannon on 80s references in this episode of Pirates of the Caribbean Minute. On minute 118 of The Curse of the Black Pearl, we start things off with the news that there just might be a sequel to Dead Men Tell No Tales, highlight more than a couple of things we like about the Captain Jack Sparrow and Captain Barbossa sword fight, discuss Elizabeth Swann’s death blow to Mallott and Grapple, wonder if the cursed skeleton crew can reassemble themselves when their bones are broken apart and scattered, honor the unknown stuntmen who make Sparrow and Barbossa look so fine, and round out the show with an impromptu ode to Lee Majors. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
We fall off the edge of the map and into uncharted territory as we analyze, scrutinize and celebrate minute 113 of The Curse of the Black Pearl. In today’s episode, we discuss our thoughts on the Northern California Pirate Festival, try to interpret Captain Barbossa’s thoughts on Jack Sparrow, discover Jack delivering a secret message to Will Turner, breakdown the symbolism of Jack cutting the feather off Barbossa’s hat and the many meanings of the phrase “off the edge of the map” and “here there be monsters”, examine Will’s first encounter with skeleton pirates, and a little behind the scenes talk as we find ourselves at a point of the movie where all the stories are starting to be wrapped up. Join us for this episode of Pirates of the Caribbean Minute. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
The cursed crew aren’t the only ones doing the stabbing on this random thoughts-filled episode of Pirates of the Caribbean Minute. Join us for minute 112 of The Curse of the Black Pearl as we discuss Elizabeth Swann’s symbolic prison bedsheet rope escape, the dynamics between Pintel and Ragetti, which is a catalyst for the attacking pirate action on the HMS Dauntless, Governor Swann’s two viable choices to survive the pirate attack, Captain Jack Sparrow examining a gold fertility statue in the treasure cave on Isla de Muerta, Captain Barbossa’s scrutiny of Jack’s true intentions, and we round out the conversation with a behind the scenes look at special effects including artificial moonlight and the skeleton pirate swordfight. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
United by special effects, Orlando Bloom and rage, Cassandra and Norman from Lord of the Rings Minute end their three-episode run by discussing the most iconic scene in The Curse of the Black Pearl. Join us for minute 109 of Pirates of the Caribbean Minute as we talk Captain Barbossa dealing a blow to Captain Jack Sparrow’s plan of retrieving the Black Pearl, Bo’ sun’s delight in giving Pintel and Ragetti a special job, a perfectly framed shot of the HMS Dauntless, the full moon, and the Isla de Muerta cave opening, and an in-depth conversation on the game-changing underwater pirate sequence complete with a Finding Nemo reference, the physics and biology of walking while submerged, and the revelation that this scene enraged Peter Jackson because of its similarity to an effect in Lord of the Rings: Return of the King, which debuted before his trilogy finale. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twiiter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
Making a special appearance all the way from Mount Doom are Cassandra and Norman from Lord of the Rings Minute. In this episode of Pirates of the Caribbean Minute, we take a stab at minute 107 of The Curse of the Black Pearl. Join us as we manage to bring together pirates, hobbits and Godzilla while we analyze charming Mullroy and Murtogg, ponder an over the top deleted Commodore Norrington line and its relationship to Captain Jack Sparrow’s character, give a critical trickster eye to the negotiations between Captain Barbossa and Jack Sparrow, and uncover the history behind the British colloquialism “Robert’s your uncle, Fanny’s your aunt”, the symbolism behind Jack using this phrase, and how it was originally written and planned by the screenwriters. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twiiter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
After realizing Aztec cursed immortal skeleton pirates were not nearly frightening enough, we raise the bar by bringing in the dark shadow side of old St. Nick. In minute 106 of The Curse of the Black Pearl, we redeem ourselves with a discussion of Captain Barbossa’s impatience with escape artist Captain Jack Sparrow, examine Jack’s need to convince everyone that he is a man of his word, breakdown Mullroy and Murtogg’s conversation on the longboat while waiting for the cursed crew, and deep dive into the legend, meaning and folktales of Old Hob – a dark, sinister form of St. Nicholas and the unlikely relationship to the hobby horse. Join us for this episode of Pirates of the Caribbean Minute. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twiiter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
We’re all over the Aztec gold treasure map with random thoughts on minute 105 of The Curse of the Black Pearl. Join us for this out of character episode of Pirates of the Caribbean Minute as we discuss a bit of cinematography, an unusually large number of character pairs throughout the film – spanning light and dark, humorous and seriousness, and all possible combinations in-between, tackle a handful of random thoughts from Captain Barbossa’s apple to Captain Jack Sparrow telling Will Turner that Elizabeth Swann plans to marry Commodore Norrington to Jack’s pet peeve. It’s an episode that can only be described as one going to hell in a handbasket. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twiiter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
Guests Carson and Andrew (carsonandandrew.com) from the crazy fun Slapdash Scripts podcast almost succeed in keeping us on our best behavior as they join us to breakdown minute 95 of The Curse of the Black Pearl. In this episode of Pirates of the Caribbean Minute we gear up for Dead Men Tell No Tales with a special spoiler-free review of the new film from Cynthia Anne Hurt, discuss the film franchise with Carson and Andrew, and through a series of complex deals analyze Captain Barbossa’s motives with the Black Pearl, wonder if it was a smart choice to maroon Captain Jack Sparrow on the same island from which he already escaped, ask the question if Barbossa is putting his own curse on Jack, identify the old swan dive enigma, talk cinematography, underwater scenes, diving stuntmen, sleepy pirates, and play a Pirates of the Caribbean marooned on an island version of would you rather. Join us for this supersized episode! Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
It’s a bastard of an episode on Pirates of the Caribbean Minute. Join us for minute 93 of The Curse of the Black Pearl as we tackle Captain Barbossa the lying bastard, discover the star of the minute – Barbossa’s teeth, wonder why Elizabeth Swann didn’t warn Will Turner that Barbossa is a classic trickster and to negotiate with him carefully, praise and then immediately admonish Will for his terms, give props to Barbossa for defending his honor, a really backed up and frustrated cursed crew, the reality of walking the plank, and the potential origins of Davy Jones’s Locker. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
Things get a bit fresh as we ponder the potential future of Elizabeth Swann returning the “favor” for taking advantage of Captain Barbossa’s hospitality – a cringeworthy future with immortal skeleton pirates getting handsy. It’s minute 92 of the Curse of the Black Pearl as Heather gets stuck on technicalities, we have a heated discussion on the meaning of Barbossa’s sexual connotations and innuendos, identify the proverbial “our hero is believed dead but soon returns with a superman pose” cliché alert, examine the intricately detailed Black Pearl’s torches which may double as weapons useful for the zombie apocalypse, discuss the ominous and heroic nature of the music, discuss Barbossa exercising the upper hand, and question whether or not Will Turner had any other choice besides revealing his name to the cursed crew. Join us for this heated episode of Pirates of the Caribbean Minute. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
Grab the grog and settle in for the weekend to discuss Captain Jack Sparrow giving Captain Barbossa the mother of all “I told you so’s” and politely offering him a bite of his apple. It’s a sticking it to the man episode on Pirates of the Caribbean Minute. Join us for minute 81 of The Curse of the Black Pearl as we continue to explore the Jack Sparrow and Hector Barbossa chess match, scrutinize the bowl of apples for historical accuracy, discover the link between apples and Fairyland, highlight our favorite lines from the week in our Really Bad Eggs segment, and expand on Scott’s popular Monkey Captain Hypothesis with the addition of irrefutable evidence. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
Heather just can’t help herself as a bit of history and Captain Barbossa’s weapon turns into a naughty metaphor on this episode of Pirates of the Caribbean Minute. Join us for minute 74 of The Curse of the Black Pearl to discuss the proverbial killing of a henchman, Pintel’s demotion with a shot through the heart, interview tips from Pirates of the Caribbean Minute, Elizabeth Swann’s revenge on Estrella, her pirate adventure, and the world’s greatest smug look, and we end things with an introduction to the cursed crewman Hawksmoor. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
It’s the perfect episode for Friday as we connect with our inner Matt Foleys in the hopes of motivating everyone – Captain Barbossa pirate-style – to have one hell of grog-filled weekend. Join us for minute 71 to discuss Barbossa’s end-the-Aztec-curse ritual and long-winded motivational speech to his cursed crew, Barbossa’s twisted scale of morality, a rash Will Turner who strikes again, feelings and technicalities of the Isla de Muerta treasure room cave, and our favorite lines from the week in our Really Bad Eggs Segment. Join us for Pirates of the Caribbean Minute! Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you. Website: http://blackpearlminute.com Facebook: https://facebook.com/PiratesoftheCaribbeanMinute Twitter: https://twitter.com/blackpearlmin Cursed Listeners’ Crew (A Pirates of the Caribbean Minute Facebook Group): https://www.facebook.com/groups/272990339778981/
It’s the end of the week so it’s no wonder the grog and euphemisms make an appearance in minute 56 of The Curse of the Black Pearl. Join us for this episode of Pirates of the Caribbean Minute as we discuss a ravenous Elizabeth Swann and her one-sided dinner with Captain Barbossa, a simulated Black Pearl sailing the ocean, a hungry monkey in need of an apple, the light and dark of apple symbolism including its use as a vessel for poison, and our favorite lines of the week in our recurring segment Really Bad Eggs. Thank you for listening to this episode of Pirates of the Caribbean Minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated. If you’re looking for a podcast that discusses Disney’s Pirates of the Caribbean film franchise (in a movies by minutes format), integrates historical pirate and the golden age of piracy facts, analyzes and entertains, then Pirates of the Caribbean Minute is for you.
Join us for minute 40 of The Curse of the Black Pearl where we call out social injustice, watch Elizabeth lie to Captain Barbossa, which only highlights her love for Will Turner, discuss animal actor versatility, call a gold medallion bluff, and see an entire pirate crew flinch with fear. It’s an episode that embraces chaos and a new slang term for gold on Pirates of the Caribbean Minute. Thank you for listening to this episode of Pirates of the Caribbean minute! If you enjoyed it, please like and share on Twitter and Facebook. We’d also be VERY grateful if you could rate, review, and subscribe to Pirates of the Caribbean Minute on iTunes. You can also listen and review via Stitcher, Tune In, and Google Play. For questions or comments, you can call the show at 86-37-PIRATE or send an email to podcast@blackpearlminute.com. We just might feature your questions on future episodes. Your support helps a lot in ranking this show and would be greatly appreciated.
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