Podcasts about CG

Are you an experiencer? With Disclosure Day, Steven Spielberg returns to the idea of extra-terrestrials and brings with him a bold message for humanity. But is this a triumphant return to form for the Scarf or a major disappointment? Are we true believers or whistleblowers? Let's dive into the mystery and suspense, not to mention the convenient plot points and questionable CG animals. People have a right to know the truth. Listen... to the latest episode of the Film Junk Podcast.

This week we're beyond glad that CG animation has evolved by the time Resident Evil: Damnation was released. Join us as we travel to the Eastern Slav Republic with Leon S Kennedy and Ada Wong! Star ratings help us build our audience! Please rate/review/subscribe to us on Spotify, Apple Podcasts or wherever you listen, and share us with your spineless friends! Email us at sequelrights@gmail.com with feedback or suggestions on future franchises!

Begun, this Cinema To The Letter episode has! Our Star Wars season barrels forward as Thomas is joined by Talk Film Society regulars Marcelo J. Pico and Siobhan Irving to discuss the E for Egregious choice of Star Wars Episode II: Attack of the Clones! Together, our trio answer the crucial questions. Is a practical creature more real than a CG creature? Was Yoda guilty of Clone War crimes? What sick individuals would cut a pear with a knife and fork? Well, put on your clone trooper helmets and take a seat at Dexter Jettster's diner while you listen to find out! Join our Patreon for $1 to hear monthly audio reviews of new releases, which you can vote on at patreon.com/cinema2letter! Follow us @cinema2letter on socials! Artwork by Michelle Kyle! Usual theme music by Burial Grid! We're a proud member of the TalkFilmSociety podcast network!

Begun, this Cinema To The Letter episode has! Our Star Wars season barrels forward as Thomas is joined by Talk Film Society regulars Marcelo J. Pico and Siobhan Irving to discuss the E for Egregious choice of Star Wars Episode II: Attack of the Clones! Together, our trio answer the crucial questions. Is a practical creature more real than a CG creature? Was Yoda guilty of Clone War crimes? What sick individuals would cut a pear with a knife and fork? Well, put on your clone trooper helmets and take a seat at Dexter Jettster's diner while you listen to find out! Join our Patreon for $1 to hear monthly audio reviews of new releases which you can vote on at patreon.com/cinema2letter! Follow us @cinema2letter on socials! Artwork by Michelle Kyle! Usual theme music by Burial Grid! We're a proud member of the TalkFilmSociety podcast network! 

Friday, 12 June 2026   And when the ten heard it, they were greatly displeased with the two brothers. Matthew 20:24   “And having heard, the ten, they outraged about the two brothers.” (CG).   In the previous verse, Jesus informed the sons of Zebedee that they would indeed drink His cup and be baptized with His baptism. However, He informed them that to sit at His right and left was not His to give, but for those prepared by His Father. With those words complete, it next says, “And having heard, the ten.”   This means the other ten apostles who had been called aside in verse 17, and who would have included Matthew, the one writing about what occurred. Of them, it says, “they outraged about the two brothers.”   A new word is seen, aganakteó, to be greatly indignant. It is only seen seven times, all in the synoptic gospels. One can see them missing the point of Jesus' words and being upset that James and John asked for this honorable seating at their expense.   Apparently, they all had the same aspiration and didn't like that these two stepped forward, bringing their mother to sweeten the deal. Each of them was thinking about an earthly royal court with earthly rewards and honors. They hungrily desired to obtain special rank and privilege in such a setting.   Whether they still had this ambition at the time of the ascension, they certainly still had the notion of an earthly kingdom on their mind at that time –   “Therefore, when they had come together, they asked Him, saying, ‘Lord, will You at this time restore the kingdom to Israel?' 7 And He said to them, ‘It is not for you to know times or seasons which the Father has put in His own authority. 8 But you shall receive power when the Holy Spirit has come upon you; and you shall be witnesses to Me in Jerusalem, and in all Judea and Samaria, and to the end of the earth.'” Acts 1:6-8   It is clear that throughout all of Jesus' ministry, they continued to misunderstand what God was doing in redemptive history. That continued in Acts as they struggled with the issue of Gentiles, law observance, etc.   Jesus had purposefully withheld much so that they could learn to simply trust His unfolding plan. The directive hand of God would effectively bring about what He purposed as they, along with us, have watched it unfold.   Life application: Nothing has changed in the hearts of many believers as they strive to find power and position within churches. People stand ready to curry the pastor's favor, willing to cut others apart with their tongues in an attempt to be heightened in the eyes of those in charge.   An example from right at the beginning concerning such personal dysfunction is found in 3 John –   “I wrote to the church, but Diotrephes, who loves to have the preeminence among them, does not receive us. 10 Therefore, if I come, I will call to mind his deeds which he does, prating against us with malicious words. And not content with that, he himself does not receive the brethren, and forbids those who wish to, putting them out of the church.” 3 John 1:9, 10   It's hard to understand how a person who was nothing but a johnny come lately would not receive a person who had been with Jesus throughout His ministry. But his name is recorded in Scripture, letting us know that such people exist. It is a sure indication that more like him are to be expected in the years to come.   Churches are filled with them. Imagine the backstabbing and corruption in larger denominations like Roman Catholicism. Power struggles that should not exist fill them because the focus is on self, not the furtherance of Christ's gospel and instruction in His word.   Let us consider these things and do our utmost to be people willing to serve, considering that Jesus set the example from the beginning. It is what Paul implores us to reflect on in Philippians 2:1-11. Take time to read that today.   Lord God, may we carefully consider our situation in the world, knowing that we are just temporary vessels to be used for a short span of time to further the knowledge of You in a world that desperately needs to hear it. May our hearts be humble, and may our feet be ready to share the good news every chance we get. Amen.  

ポッドキャストにて公開させて頂きました。 かなり久しぶりになってしまいました。 すみません。 ともかくまた近々に新作を公開させて頂きます。 セールは終わってしまってますこと改めて申し上げます。 今後は、もっと更新頻度を上げ頑張ります。 お付き合いいただけますと嬉しいです。 【ネットショップ】通販うさぎ部長vol109

Thursday, 11 June 2026   So He said to them, “You will indeed drink My cup, and be baptized with the baptism that I am baptized with; but to sit on My right hand and on My left is not Mine to give, but it is for those for whom it is prepared by My Father.” Matthew 20:23   “And He says to them, ‘The ‘indeed, ‘cup, Mine',' you will drink, and the immersion, the ‘I, I am immersed' you will be immersed. The, also, to sit from ‘rights, Me', and from ‘lefts, Me', not it is Mine – these to give, but those it has been prepared under the ‘Father, Mine'.'” (CG).   In the previous verse, Jesus told the sons of Zebedee that they didn't realize what they were asking. He asked them if they could drink the cup He was to drink from and to be immersed with the immersion that He was to be immersed with. They boldly claimed that they were able. In response to that, it next says, “And He says to them, ‘The ‘indeed, ‘cup, Mine',' you will drink.'”   Jesus' cup refers to His coming passion. His words do not mean that they would suffer vicariously for others, something Jesus alone could do. Rather, as the Head of the church, those who follow Him will enter into His suffering simply by being His follower. The level at which that occurs for these two is not addressed. Jesus merely states it as a fact.   Acts 12:2 reveals that James was killed with the sword by Herod. John's suffering began at the cross as he watched Jesus die. From that time on, his life was wholly sold out to whatever trials or persecutions came his way. Thus, he was a living martyr, a living witness to the sufferings of Christ throughout his years. Toward the end of them, he wrote to the church –   “I, John, both your brother and companion in the tribulation and kingdom and patience of Jesus Christ, was on the island that is called Patmos for the word of God and for the testimony of Jesus Christ.” Revelation 1:9   There is a tradition that he survived being boiled in oil, but there is nothing to substantiate that beyond the tradition itself. Regardless, his life was long and was given over to the call of Christ. Jesus continues, saying, “and the immersion, the ‘I, I am immersed' you will be immersed.”   As noted in the previous verse, Jesus' immersion was His death on the cross. He died for the sins of the world. This is not what James and John would do, nor could they. However, they were immersed with Christ's immersion, something all believers participate in when they come to Christ –   “In Him you were also circumcised with the circumcision made without hands, by putting off the body of the sins of the flesh, by the circumcision of Christ, 12 buried with Him in baptism, in which you also were raised with Him through faith in the working of God, who raised Him from the dead.” Colossians 2:11, 12   Christ died for sin, while believers die to sin in Christ. Thus, we are immersed into His immersion. This is referring to what occurs when one receives Jesus, not an outward display of water baptism. Water baptism is a command given by Jesus as an identifying sign of the inner change that has taken place. Jesus continues, saying, “The, also, to sit from ‘rights, Me', and from ‘lefts, Me', not it is Mine – these to give.”   At first, this seems contradictory to Revelation 3:21 –   “To him who overcomes I will grant to sit with Me on My throne, as I also overcame and sat down with My Father on His throne.”   Jesus has full authority to grant to those who come to Him their place in His kingdom. This would include the position to His left and right, but there is an order and a propriety in all things, including the process of granting such a position. Therefore, Jesus continues, saying, “but those it has been prepared under the ‘Father, Mine'.”   The words “under the ‘Father, Mine'” mean “under His authority or direction.” Jesus could not grant what He had not yet received. The Father ordained that Jesus was to be born under the law, live without sinning under the law, and die in fulfillment of the law. For Him to say that He would grant these positions before His work was done would be improper.   This is reflected in the opening words of Romans –   “Paul, a bondservant of Jesus Christ, called to be an apostle, separated to the gospel of God 2 which He promised before through His prophets in the Holy Scriptures, 3 concerning His Son Jesus Christ our Lord, who was born of the seed of David according to the flesh, 4 and declared to be the Son of God with power according to the Spirit of holiness, by the resurrection from the dead.” Romans 1:1-4   As noted, there is an order to all things. Jesus had to follow what was prescribed by the Father, fulfilling His will before He could make such a determination as to who would sit in such a position. Thus, they are positions that are, as He said, “prepared under the ‘Father, Mine'.”   Life application: The cup of Jesus' suffering is one that those who follow Him will participate in. The manner in which it takes place will be different for all. Paul speaks of this in 2 Corinthians –   “Blessed be the God and Father of our Lord Jesus Christ, the Father of mercies and God of all comfort, 4 who comforts us in all our tribulation, that we may be able to comfort those who are in any trouble, with the comfort with which we ourselves are comforted by God. 5 For as the sufferings of Christ abound in us, so our consolation also abounds through Christ. 6 Now if we are afflicted, it is for your consolation and salvation, which is effective for enduring the same sufferings which we also suffer. Or if we are comforted, it is for your consolation and salvation. 7 And our hope for you is steadfast, because we know that as you are partakers of the sufferings, so also you will partake of the consolation.” 2 Corinthians 1:3-7   The fact that we have accepted Jesus means that we have partaken of the cup of Jesus' suffering. Any suffering beyond that will be based on our interactions within the world as followers of Christ. If someone were to move to a country where evangelism is forbidden and started evangelizing, he may be fined, imprisoned, or executed.   The choice to go to that country was voluntary. He could have stayed in his hometown and been a plumber. As a plumber, someone might say, “I will never hire that guy. He has a Jesus bumper sticker.” That suffering was also voluntary. He did not need to put the sticker on his car.   The level and type of suffering we will receive beyond participating in Jesus' suffering through faith in His completed work may be up to us, or it may be a result of our environment. The Christians in Nigeria will certainly agree to that. They are slaughtered by the thousands because of the name of Jesus.   Therefore, what occurs to any of us in our Christian walk will result from both personal choices as well as individual circumstances that are often beyond our control. No matter what, we should not fear in our walk in this world. We are His, and He will deliver us from this body of death to eternal life with Him.   Lord God, help us to have an eternal perspective in regard to our walk with You. Whatever happens here is temporary and will come to an end. But what lies ahead is eternal. May we not squander this short life we possess when it could be used for Your glory, each step of the way. Amen.

freeeは映像・アニメ・CG制作業界向けの新プロジェクト「freee for 制作」を開始。Autodesk「Flow PT」とのAPI連携により、制作管理ツールと勤怠システムの「二重入力」を解消し、現場の工数データを自動的に経営情報として蓄積。クリエイターの負担軽減と、経営側のリアル…

Wednesday, 10 June 2026   But Jesus answered and said, “You do not know what you ask. Are you able to drink the cup that I am about to drink, and be baptized with the baptism that I am baptized with?” They said to Him, “We are able.” Matthew 20:22   “Answering, also, Jesus, He said, ‘Not you have known what you ask! Are you able to drink the cup, the ‘I, I am about to drink,' or the immersion, the ‘I, I am immersed' to be immersed?' They say to Him, ‘We are able.'” (CG).   In the previous verse, the mother of Zebedee's sons asked Jesus to grant that her two sons could sit on His right and left sides in His kingdom. In response, Matthew records, “Answering, also, Jesus, He said, ‘Not you have known what you ask!'”   As noted in the previous verse, a question like this can cause real problems for the one being asked. His mind will have to consider every contingency that may arise in the future, something such a spur-of-the-moment question will not normally allow.   Because of this, a tension arises between granting and not granting the request. In the case of Jesus, no such tension would arise. He would know and understand all future possibilities, including the negatives such a question would entail.   In this case, one of the immediate negatives is that the asker, not the one being asked, really has no idea what they (the verb is plural) are truly asking for. In the case of this question, Ellicott correctly states, “That nearness to Him in His glory could be obtained only by an equal nearness in suffering.”   It isn't that they counted such a cost. Rather, they have no idea about such a cost. They think Jesus will be hailed by the people as the Messiah and Israel's King, but there is not an inkling in their mind what He will go through for that to come about.   As this is so, these two men have actually put themselves ahead of Jesus. They are asking for a position in Jesus' kingdom before He has gone through what is necessary to obtain that kingdom. It is true that their request is conditional on His securing the kingdom, but because of their ignorance of what that involves, it's like saying, “Whatever happens that causes You to be king, we want to be there on seats with You when it is over.”   This is a natural human way of looking at things, and it is just what Jonathan did with David when he was set to become the king –   “And he said to him, ‘Do not fear, for the hand of Saul my father shall not find you. You shall be king over Israel, and I shall be next to you. Even my father Saul knows that.'” 1 Samuel 23:17   Jonathan assumed that the future was set by his words, but God's plans and purposes must come to pass according to His will. Jesus, knowing what lies ahead in His ministry, hints that it will not be what these two men think, asking, “Are you able to drink the cup, the ‘I, I am about to drink'?”   The cup signifies one's lot, good and bad. When one drinks from a cup of sweetness, the sweetness becomes a part of that person, invigorating him. When he drinks hemlock, it becomes a part of him, destroying his life. Jesus had come to deal with sin in humanity. Such a cup would mean God's wrath on sin would be poured out. Israel sinned, and they received God's cup of wrath –   “Awake, awake! Stand up, O Jerusalem, You who have drunk at the hand of the Lord The cup of His fury; You have drunk the dregs of the cup of trembling, And drained it out.” Isaiah 51:17   Jesus' cup would be sufficient to deal with all of the sins of humanity. Thus, it would be a terrifying cup of wrath and judgment. He continues, asking, “or the immersion, the ‘I, I am immersed' to be immersed?”   Immersion signifies a change in direction and even in nature. John's immersion was one of repentance, turning from sin and returning to the way of the Lord. Jesus' immersion is found in the cross. It is the instrument of His immersion, going from life with God in Christ to immersion in death and separation from God for man's sin.   These together, the cup and the immersion, were what Jesus was destined for. And they were not for His sake but for the world. Despite this, and having no clue what this meant, the brothers chimed in with words of confidence. Matthew records, “They say to Him, ‘We are able.'”   It is a noble and confident affirmation lacking any comprehension of what lay ahead for Jesus.   Life application: Imagine what God in Christ was willing to do to restore us to Himself. He was under no obligation to suffer the indignation, torture, and humility of the cross in order to restore us to Him. And yet, He willingly did it.   What value does God see in us? It is hard to figure but it is there. His infinite goodness meant setting aside His glory and taking on a frail, human form. And His humanity went through all the struggles and trials humans face. And then it went through more when He was judged for our sins.   If you feel you are lacking value, look to the cross of Christ. You have infinite value in God's eyes when you accept the gospel and follow Jesus in faith.   Lord God, it is beyond our comprehension when we try to consider what the cross of Jesus truly signifies. It is the highest point of our existence when we to look and accept what it means. Everything changes from that moment on. Thank You, O God, for Jesus Christ our Lord. Thank You. Amen.  

Send us Fan MailA single check on a cutting board tells you everything you need to know about who's really in charge. We're back in the West Coast chaos of Knots Landing Season 4 Episode 9, “Best Kept Secret,” and we can feel the gears turning as Abby Cunningham stops pretending she's just “helping.” From Daniel's restaurant to Gary Ewing's beach house, the power plays are subtle, the smiles are practiced, and the consequences are loud. We break down Valene Ewing's full-on success glow up, from fan mail and radio buzz to the way confidence changes how people treat you, including your ex. We also sit with Karen Fairgate's emotional whiplash as her relationship with Mac takes a hard left, all sparked by one badly timed apology and one very suspicious robe situation. The show's genius is how it makes miscommunication feel like fate, especially when nobody says the one sentence that could clear it all up. Then there's the music plot: CG's big night at Daniel's, Kenny's growing fear of being replaced, and Jeff Munson's arrival as the kind of super producer who can change careers with a phone call. Add Gary's increasingly flirty energy around CG, Abby's uncanny ability to stay cool when money is on the table, and Ginger's top-tier dry hate, and you've got a soap opera recap packed with betrayal, ambition, and that uneasy feeling that the real “secret” is who benefits most. If you love classic prime time soap opera drama, Knots Landing recaps, and character-driven chaos, hit play, subscribe, and share this with a friend who misses the golden age of TV. After you listen, leave a review and tell us: is Abby the villain, the hero, or the only adult in the room?

To celebrate the summer, Chris and Alex take another trawl through the Fantasy/Animation archive to pick out some of their favourite past instalments of the podcast. For this first archive episode for 2026, they turn to their discussion of The Prince of Egypt (Brenda Chapman, Steve Hickner & Simon Wells, 1998) that took place way back in March 2021 that featured the insights of biblical scholar and broadcaster Francesca Stavrakopoulou, who is Professor of Hebrew Bible and Ancient Religion at the University of Exeter. Listen again at their analysis of this 1998 cel-animated and CG epic that took in conversations about musicality, animated adaptations, star voices, spectacle, and myth-making, as well as the film's contribution to the industrial standing of DreamWorks as a successful Hollywood studio, the politics of white-washing and colour-coding, and the stylistic mobilisation of Christian iconography. **Fantasy/Animation theme tune composed by Francisca Araujo** **As featured on Feedspot's 25 Best London Education Podcasts** **As featured on MillionPodcast's Best 10 UK Animation Podcasts and Best 60 Movie Podcasts in the UK**

更新爆裂遅くなってすみません！！大阪イベントの申し込みフォームができました！西のみなさま！こぞって参加してください！https://forms.gle/K6YwncLHdjtYHYwC9

Nghe trọn nội dung sách nói Hồi Ức Về Những Cô Gái Điếm Buồn Của Tôi trên ứng dụng Voiz FM: https://voiz.vn/play/283/“Mỗi một cuộc sống, mỗi một số phận đều có những nỗi niềm, những suy tư, trăn trở riêng và đáng để ta suy ngẫm…” Các tác phẩm của Márquez đều mang đậm bản sắc châu Mỹ La-tinh, toát lên sự giản dị của tâm hồn hay sự nhạy cảm của nội tâm. Ông như sống với trăn trở của từng nhân vật, từng số phận trong tác phẩm của mình; chính vì vậy bạn đọc luôn đón nhận tác phẩm của ông với sự trân trọng.Với tư duy nghệ thuật độc đáo, Márquez đã thể hiện trong các tác phẩm của mình một tình yêu vừa thơ ngây vừa sâu sắc, mãnh liệt đối với con người, với cuộc đời. Ông đã từng nói: “Trên thực tế, mỗi nhà văn chỉ viết một cuốn sách. Cuốn sách mà tôi đang viết là cuốn sách về 'Cái cô đơn.'”Tại ứng dụng sách nói Voiz FM, sách nói Hồi Ức Về Những Cô Gái Điếm Buồn Của Tôi được đầu tư chất lượng âm thanh và thu âm chuyên nghiệp, tốt nhất để mang lại trải nghiệm nghe tuyệt vời cho bạn.---Về Voiz FM:Voiz FM là ứng dụng sách nói podcast ra mắt thị trường công nghệ từ năm 2019. Với gần 2000 tựa sách độc quyền, Voiz FM hiện đang là nền tảng sách nói podcast bản quyền hàng đầu Việt Nam. Bạn có thể trải nghiệm miễn phí đa dạng nội dung tại Voiz FM từ sách nói, podcast đến truyện nói, sách tóm tắt và nội dung dành cho thiếu nhi.---Voiz FM website: https://voiz.vn/Theo dõi Facebook Voiz FM: https://www.facebook.com/VoizFMTham khảo thêm các bài viết review, tổng hợp, gợi ý sách để lựa chọn sách nói dễ dàng hơn tại trang Blog Voiz FM: http://blog.voiz.vn/---Cảm ơn bạn đã ủng hộ Voiz FM. Nếu bạn yêu thích sách nói Hồi Ức Về Những Cô Gái Điếm Buồn Của Tôi và các nội dung sách nói podcast khác, hãy đăng ký kênh để nhận thông báo về những nội dung mới nhất của Voiz FM channel nhé. Ngoài ra, bạn có thể nghe BẢN FULL ĐỘC QUYỀN hàng chục ngàn nội dung Chất lượng cao khác tại ứng dụng Voiz FM.Tải ứng dụng Voiz FM: voiz.vn/download#voizfm #podcast #hoiucvenhungcogaidiembuoncuatoi #gabrielgarciamarquez

We're taking a break from our break (insert "Inception" horn) to check out "The Mandalorian and Grogu", the latest theatrical "Star Wars" outing! Everyone's favorite buckethead and baby are back, hunting down war criminals and fighting CG monsters. SO. MANY. CG monsters. Also this week: a hot Hutt (?), almost Minioning, and bringing back the board! [Mando and Grogu: 1:08] [Classic Board: https://sshbpodcast.tumblr.com/post/666252313160286208/star-war-films-ranked ] [New Board: https://sshbpodcast.tumblr.com/post/818430559275597824/star-wars-big-board-now-featuring-the-mandalorian ]

In this no-doubt pivotal 50th episode of the somewhat irregular LITC podcast, Gemma and Marc interview Tim Haines about his latest televisual venture featuring CG recreations of prehistoric animals in photogenic settings – Surviving Earth! But before that, a short preamble packs in Isle of Wight shoutouts, Thai-ropods (or something like that), and Gemma's boundless flair for the dramatic.   Show Notes On Chasmosaurs!

This is the way, Cinema To The Letter. Or... is it? That's what Thomas will contemplate as Shakyl Lambert and Sam Brutuxan join him to discuss the film that recently returned Star Wars to the big screen The Mandalorian and Grogu! Together, our trio will answer all the crucial questions. How has the streaming era treated Star Wars as a franchise? Should Hutts be bilingual? Can a bunch of puppets make up for some very visually drab CG? Well, don your Manadorian helmets and secure your adopted 50 year old baby's armor as you listen to find out! Spoilers start at 01:07:47 Join our Patreon for $1 to hear monthly audio reviews of new releases which you can vote on at patreon.com/cinema2letter! Follow us @cinema2letter on socials! Artwork by Michelle Kyle! Usual theme music by Burial Grid! We're a proud member of the TalkFilmSociety podcast network! 

Every time someone farts, a demon gets his wings, and this week there are a lot of flying demons after we revisited the notorious 1997 stinker Spawn. At least one member of the Film Junk crew was very excited to see this movie on initial release. Was the force feed successful back then and does it hold up any better now? Listen as we reminisce about the Toddfather's comics and toy empire, the electronica / nu-metal soundtrack, vomit-inducing early CG, PG-13 movies for edgelords and the state of comic book movies back in the '90s. You have been violated little girly man. For a limited time only, you too can have this week's podcast for the eensy price of your soul and a buttload of pain.

ダイエット賭博←そんなことをするな。気づいたら半同棲←どんどんしていけ！※お便り募集※6/27のイベントに向けて、大阪の思い出、オススメ、偏見、妄想、二人にやってほしいことなど、ありとあらゆる大阪にまつわることを募集するコーナー「大阪」にお便りください！https://forms.gle/2dR4MwLpdDDoJgLd6(編集：トロニー)取るに足りないものごとを拾い上げて面白がるポッドキャスト、中トロラジオです!!登場人物・中西→名古屋、男子校、演劇サークル出身。・トロニー→内モンゴル、富山、音楽系（根暗）サークル出身。名字がない。ふたりとも建築学科から非建築業界に就職した男性、30歳です。おたより、感想ツイートなどなどお待ちしています！おたよりはこちらから↓https://forms.gle/2dR4MwLpdDDoJgLd6中トロラジオのdiscordサーバーはこちら↓https://discord.gg/8bHBj5wd2Fーーーーー◎最高のオープニングゆnovation『pop out!』(yunovation.net)各種配信サービスでいつでも聞けます！https://linkco.re/SSFZfhxF◎珠玉のアートワークプランニング : 古林萌実(@__moem3in)デザイン：佐藤祐太郎(@yutarooo811)CG：嶋江大悟

This week on the podcast, we dive into a galaxy far, far away, a dangerously beautiful state park, the surprising success of four-day work weeks, and why people are wildly confused about the environmental impact of the food they eat. Then we wrap things up in the Book Club with a poetic AI encounter that left us intrigued, confused, and maybe slightly emotionally mugged in a dark alley behind a fusion restaurant. Real Life  Steven and Ben both checked out The Mandalorian & Grogu together… sort of. One of us managed to participate in the review despite not fully seeing the movie, which honestly may be the most authentic Star Wars fan experience possible at this point. We talk about the surprisingly fantastic stop-motion effects, some genuinely cool CG creature work, and whether Hutts should really be speaking Basic. Steven remains unconvinced. Ben argues the movie wisely avoids dragging along the baggage from season 3 of The Mandalorian and feels more focused because of it. Meanwhile, Devon took a trip to Cossatot River State Park-Natural Area where the scenery was beautiful and the children were apparently training for a career in extreme sports. Watching kids play near dangerous rapids is apparently one of the most effective ways to discover new forms of parental anxiety. Fortunately, nobody was swept away into the wilderness, and everyone had a great time risking life and limb in nature. Future or Now  Ben brings us a story about 15 Australian companies that switched to a four-day work week and found that things went… suspiciously well. Productivity held steady, employee happiness improved, and workers generally seemed less miserable. We discuss whether shorter work weeks are the inevitable future or whether society is too psychologically dependent on pretending exhaustion equals virtue. Devon covers a study showing that most people completely misunderstand the environmental impact of food. A lot of folks assume "processed" automatically means environmentally terrible, while massively underestimating the impact of beef production. Even foods people often think of as universally eco-friendly can have surprisingly high environmental costs depending on water usage, transport, and production methods. It turns into a conversation about how humans love oversimplified categories, even when reality stubbornly refuses to cooperate. Steven, meanwhile, contributes absolutely nothing this week, which honestly may have reduced the overall chaos level of the episode by at least 12%. "Book Club"  This week we read Narcissus Meets the Ghost of AI in a Dark Alley Behind a Fusion Restaurant by Lesley Hart Gunn, and the title alone probably tells you this was not going to be a straightforward experience. The poem opens with the line: "I suppose you want my wallet. No? My body then." …and from there things only become more surreal, philosophical, and emotionally slippery. We spend a good chunk of time trying to unpack what the poem is actually saying about identity, technology, desire, performance, and the strange relationship humans are developing with artificial intelligence. It's dense, layered, and definitely one of those works that demands active engagement instead of passively washing over you. In other words: the exact kind of thing that makes for a great podcast discussion and an exhausting homework assignment. Next Week's Book Club Next week we'll be reading The Things by Peter Watts. "I am being Blair. I escape out the back as the world comes in through the front." If you enjoy horrifying perspective shifts, existential dread, and science fiction that actively stares into your soul, you may want to read ahead before the episode drops.

各位、生活、工作、身体、心情、四维安好 前几天我跟老高出门吃饭，电影院偶遇冷门电影《真人快打2》，顿时一系列鬼畜的游戏画面与场景，还有配音，立马出现在眼前，整个氛围瞬间欢快了起来 结果老公一聊，发现它竟藏着中国武侠、邵氏邪典，还催生了游戏分级制度？而且咋西方它是流行符号，影响力巨大 但其混乱的剧情，鬼畜的效果，也让很多朋友望而却步，今天我们就来聊聊这个大众又小众的游戏 02:09 真人快打：中国元素与西方文化的碰撞与融合 04:35 神秘力量的诱惑：中国神话与武打片的碰撞之旅 09:11 《魔宫帝国》：游戏界的里程碑时刻与评级制度的诞生 13:46 《真人快打》：销量突破七千万份！华纳兄弟互动娱乐的成功之路 18:22 《真人快打》：欲望与背叛引发的宇宙浩劫 22:56 《真人快打》故事线解析：两个大反派的复杂背景与目的 27:33 《真人快打二》：地球战士的荣耀与复仇之路 32:08 地球末日：为了复活媳妇儿，战士们展开决战 36:42 《真人快打：末日浩劫》- 宇宙平衡被打破，三界联手对抗外星文明 41:19 真人快打系列剧情揭秘：雷电的使命与牺牲 45:55 《真人快打》：地球被全吃完，火神刘康拯救世界！ 50:32 真人快打二》：一个真人演的游戏CG，全程无尿点，让您尽情享受打斗的魅力！

やっぱりアイスコーヒーは苦くないと思う。今回は久々に恋愛相談のおたより。別れた恋人の人生の節目(卒業式)に感謝のメッセージを送るべきか？という内容。なんか難しかったな！おれたちは所詮机上の空論恋愛学者たち….想像しながらああだこうだ言ってました。録音した後で気づいたけど全然卒業式終わってるから僕らの回答は悩んでいる当人には届かないのであった。完。もっと早めにお便り読むようにします！ごめん！(今回編集した人：中西)登場人物・中西→名古屋、男子校、演劇サークル出身。・トロニー→内モンゴル、富山、音楽系（根暗）サークル出身。名字がない。ふたりとも建築学科から非建築業界に就職した男性、30歳です。おたより、感想ツイートなどなどお待ちしています！おたよりはこちらから↓https://forms.gle/2dR4MwLpdDDoJgLd6中トロラジオのdiscordサーバーはこちら↓https://discord.gg/8bHBj5wd2Fーーーーー◎最高のオープニングゆnovation『pop out!』(yunovation.net)各種配信サービスでいつでも聞けます！https://linkco.re/SSFZfhxF◎珠玉のアートワークプランニング : 古林萌実(@__moem3in)デザイン：佐藤祐太郎(@yutarooo811)CG：嶋江大悟

Thursday, 21 May 2026   Now when he had agreed with the laborers for a denarius a day, he sent them into his vineyard. Matthew 20:2   “Having also harmonized with the toilers from ‘denarius, the day,' he sent them into the ‘vineyard, his'.” (CG)   In the previous verse, Jesus began the parable of the laborers in the vineyard. He continues that now, saying, “And having harmonized with the toilers.”   An amount was agreed on (harmonized) between him and those who will be in his employ. This is what will happen with any day laborer, and it is what happens with any hired staff in any job. Even military service sets the terms of payment, regardless of if it is compulsory or voluntary enlistment.   People want to know what to expect for their labor before entering into it. This goes back to the earliest records of the Bible. In Genesis 29, it says –   “And he said, Laban, to Jacob, ‘(Indeed) not my brother, you. And you served me gratuitously? You must (surely) cause to declare to me what your wages!' 16And to Laban, two daughters. ‘Name, the whopping' Leah, and ‘name, the diminutive' Rachel. 17And ‘eyes, Leah' tender. And Rachel, she was ‘beautiful, form' and ‘beautiful, appearance.   18And he cherished, Jacob, Rachel. And he said, ‘I will serve you seven years in Rachel, your daughter, the diminutive.'   19And he said, Laban, ‘Good I giving her to you from my giving her to ‘man, another'. You must (surely) sit with me!' 20And he served, Jacob, in Rachel seven years. And they were, in his eyes, according to ‘days, ones' in his ‘cherish, her'.” Genesis 29:15-20 (CG).   Such arrangements are wholly appropriate, and they are considered binding. If either side defaults on the agreement, it is considered theft. If the owner doesn't pay, he has stolen the time and effort of the laborer. If the laborer refuses to work according to whatever standard was set forth, he is considered to have stolen the property of the owner. Understanding this, Jesus notes that the agreement was “from ‘denarius, the day,'.”   The denarius was introduced in Matthew 18:28. It was a small silver coin used in Roman currency. It was approximately 53 grams of silver. Its value changed according to the strength of the Roman currency system, as any nation's currency does. But for this parable, it is accepted as a day's labor by both parties. With that agreed on, “he sent them into the ‘vineyard, his'.”   It is his property. The vineyard was either planted by him or tended to since he acquired the property. His time, money, and resources have been used to keep the vineyard in proper shape. On the other side, the laborer has needs and desires that he anticipates based on what he will earn. His abilities have been evaluated, and he is to perform according to what the owner expects from those abilities.   Life application: In the story of Jacob and Laban, Laban cheated Jacob. Instead of giving him Rachel for seven years of labor, he gave him Leah. Only after the marriage was consummated did Jacob realize what had happened. He had his years of labor essentially stolen from him.   Laban then offered Rachel for another seven years of labor. Jacob agreed to this, but it was not the original agreement. Laban had seven years to marry off Leah, and he didn't do it, connivingly setting Jacob up to serve him longer so that Laban could unjustly benefit from him.   Understanding this, be sure to count your pay before you take it for a deposit. And for sure, gents, be sure to lift the veil on the woman you are about to marry. Under it, she might not be who you think.   Lord God, what a wonderful story is found in Jacob's two wives and two concubines. There is law, and there is grace. And there are two exiles during those periods for the nation of Israel. And yet, You have brought them back again to fulfill the final promises in Your word to this unruly people. May that day be soon. Amen.

More with Nick Schager as he and CG delve into the many offerings from Star Wars. Movies, prequel trilogies, series and more, how has the franchise maintained... or, while still maintaining, has the overall quality of the stories slipped. The Christopher Gabriel Program ----------------------------------------------------------- Please Like, Comment and Follow 'The Christopher Gabriel Program' on all platforms: The Christopher Gabriel Program is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. --- The Christopher Gabriel Program | Website | Facebook | X | Instagram | --- Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

 Exploring the Connection Between Matthew 19, the Book of Psalms, and Isaiah 19 For Bible in Ten – By DH – 19th May 2026 Yesterday we completed Matthew 19.   Nineteen according to E W Bullinger is “a combination of 10 and 9, and would denote the perfection of Divine order connected with judgment.” During our episodes through Matthew 19,  we already learned how “..the words of Chapter 19 span all the dispensations of time.”   CG    .  In Matthew 19 Jesus brought judgments which referenced creation, the law,  the insufficiency of human merit, faith and grace, and looking forward to the millennial kingdom.  As we will see in this bonus episode we can also find these references in Psalms. Isaiah 19 also adds a sharper prophetic focus.  It lends support to the judgment theme.  According to BibleHub “It presents a two-fold prophecy against Egypt, revealing not only a looming divine judgment but also an ultimate transformation and redemption. This dual-nature prophecy exemplifies the complexity of God's plans for nations and His sovereignty over all things.” In Matthew 19 every false confidence is judged: confidence in legal argument, in religious achievement, in wealth, in status, and confidence in the flesh. In the end, the chapter points to Christ alone.    Consider the following seven sections which trace Matthew 19 as a historical sweep: from creation order and marriage, through law and human hardness, into grace, kingdom promise, final judgment, and the believer's reward before Christ.  Innocence and Creation   When answering the Pharisees' question about breaking up marriage, Jesus does not begin His answer with Moses. He goes further back. He goes to creation: “Have you not read that He who made them at the beginning made them male and female?” Psalms has many Creation references too: “The heavens are telling of the glory of God…” Psalm 19:1  “By the word of the LORD the heavens were made…” Psalm 33:6 “How many are Your works, LORD! In wisdom You have made them all…” Psalm 104:24  To Him who made the heavens with skill, For His faithfulness is everlasting; 6 To Him who spread out the earth above the waters, For His faithfulness is everlasting; 7 To Him who made the great lights, For His faithfulness is everlasting: 8 The sun to rule by day, For His faithfulness is everlasting, 9  The moon and stars to rule by night, For His faithfulness is everlasting.    Psalm 136:5–9 3 Praise Him, sun and moon; Praise Him, all stars of light! 4 Praise Him, highest heavens, And the waters that are above the heavens! 5 They are to praise the name of the Lord, For He commanded and they were created.    Psalm 148:3–5  The earth is the Lord's, and all it contains, The world, and those who live in it. 2  For He has founded it upon the seas And established it upon the rivers.   Psalm 24:1–2    You visit the earth and cause it to overflow; You greatly enrich it; The stream of God is full of water; You prepare their grain, for so You prepare the earth. 10 You water its furrows abundantly, You settle its ridges, You soften it with showers, You bless its growth. 11 You have crowned the year with Your goodness, And Your paths drip with fatness. 12 The pastures of the wilderness drip, And the hills encircle themselves with rejoicing. 13 The meadows are clothed with flocks And the valleys are covered with grain; They shout for joy, yes, they sing    Psalm 65:9–13  Man was created for ordered life beneath the Lord. Marriage belongs to that created order.   It was established by God at the beginning and Psalm 128 references it in verse 3. “Your wife will be like a fruitful vine within your house…”  Psalm 128:3  Law and the Hardness of Heart The Pharisees then press the matter further: “Why then did Moses command to give a certificate of divorce, and to put her away?” Jesus answers: “Moses, because of the hardness of your hearts, permitted you to divorce your wives, but from the beginning it was not so.” The law could regulate certain consequences of sin, but it could not cure the heart of man. Moses' allowance was not the original ideal. It was an accommodation because of hardness of heart. Psalm 1, Psalm 19, and Psalm 119 all uphold the goodness of the law. The law is not evil. The commandments of the Lord are righteous. The word of God is pure, true, and desirable. But Psalms also makes clear that man himself is the problem. Psalm 14:3 says: “They have all turned aside, together they are corrupt; There is no one who does good, not even one. ” Psalm 143 says: “And do not enter into judgment with Your servant, For no person living is righteous in Your sight.”  verse 2. Psalm 51 gives the heart of the issue. David does not merely need external correction. He cries: “Create in me a clean heart, God, And renew a steadfast spirit within me..”   verse 10. The law highlights sin in man but cannot correct man's fallen state.  Psalms illuminates this powerfully. Psalm 49 says: “None of them can by any means redeem his brother, nor give to God a ransom for him.” That is the heart of the matter. Man cannot redeem himself. Wealth cannot ransom the soul. Moral seriousness cannot purchase eternal life. Psalm 62 warns: “If riches increase, do not set your heart on them.”   Grace through Faith After this, children are brought to Jesus so that He might place His hands on them and pray.  Psalm 131 verse 2 says: “I have certainly soothed and quieted my soul;  Like a weaned child resting against his mother, My soul within me is like a weaned child.” That is the spirit of Matthew 19. The kingdom is not entered through self-confident legal achievement, but through humble dependence. Psalm 8 also says: “From the mouths of infants and nursing babies You have established strength Because of Your enemies, To do away with the enemy and the revengeful.” Jesus later cites this psalm in Matthew 21. The children, the weak, the dependent, and the seemingly insignificant often perceive what a more mature mind misses.  The disciples wrongly rebuke the children. Jesus corrects them.   The Lord is near to the humble, the broken, the dependent, and the trusting. The children become a living illustration of the kind of faith that enters the kingdom.   The Royal and Millennial Hope Peter then asks what will be given to the disciples, since they have left all and followed Jesus. Jesus answers: “You who have followed Me will also sit on twelve thrones, judging the twelve tribes of Israel.” This moves Matthew 19 forward to the millennial kingdom.  Psalm 2 presents the Lord's Anointed as King: “Yet I have set My King on My holy hill of Zion.” Psalm 72 looks forward to the righteous reign of the King, marked by justice, peace, dominion, and blessing. Psalm 89 recalls the Davidic covenant and the certainty of God's promises. Psalm 110 presents the Messiah seated at the right hand of God until His enemies are made His footstool. Psalm 122 says: “For thrones are set there for judgment, the thrones of the house of David.”   The Dispensational Sweep of Matthew 19 The chapter begins with creation order: male and female, marriage, and God's original design. It moves to law: Moses, divorce, hardness of heart, and the insufficiency of legal accommodation. It then displays grace: the children come to Christ with nothing, and Jesus receives them. It exposes human inability: the rich young ruler cannot obtain life through personal merit, morality, or wealth. It reveals divine possibility: with man salvation is impossible, but with God all things are possible. It then looks forward to the millennial kingdom: the apostles will sit on twelve thrones, judging the twelve tribes of Israel.   Isaiah 19 and The Great White Throne Judgment   At the Great White Throne, all false confidence is finally exposed. Only those who are in Christ have a righteousness that can stand before God. Isaiah 19 gives a searching picture of Egypt brought under the judgment of the LORD. Egypt's idols tremble. Her wisdom fails. Her princes become fools. Her counsellors are unable to give true guidance. The nation that once appeared ancient, powerful, wealthy, and secure is shown to be helpless before God. This is a stark picture of misplaced confidence. Matthew 19 teaches the same spiritual lesson. Do not trust law-performance, wealth, status, fleshly advantage, religious seriousness, or human ability. With men this is impossible. The rich young ruler appears clothed in morality, youth, wealth, and religious seriousness. But when Christ presses the true demand of perfection, the man is exposed. His confidence cannot save him. His possessions have his heart. He goes away sorrowful. He is like Egypt in Isaiah 19. What seemed wise, strong, and secure is brought to nothing before the LORD. This points forward to the Great White Throne Judgment, where every person outside of Christ will stand fully exposed before God. The books will be opened. No earthly confidence will remain. No religious appearance will cover the soul. No wealth, status, morality, wisdom, or human achievement can answer the demands of divine righteousness. Isaiah 19 shows the collapse of national confidence before the LORD. Matthew 19 shows the collapse of personal confidence before Christ. The Great White Throne shows the final collapse of every confidence outside of God's saving righteousness.   Matthew 19 and the Judgment of the believer Matthew 19 ends with the judgment: “But many who are first will be last, and the last first.” In the 19th book of the Bible, Psalms repeatedly shows divine reversal. The proud are brought low. The humble are lifted up. The wicked may flourish temporarily, but they do not endure. The righteous may suffer for a time, but they are finally vindicated. Psalm 37 says the meek shall inherit the earth. Psalm 73 shows the prosperous brought to nothing. Psalm 113 says the Lord raises the poor out of the dust and lifts the needy out of the ash heap. Psalm 118 speaks of the rejected stone becoming the chief cornerstone. Isaiah 19 dramatizes the same reversal negatively. Those who seemed powerful and reliable, Egypt and Cush, are exposed in shame. Their apparent strength becomes humiliation. So Matthew 19 teaches that the judgment of believers will expose the true value of a life. Some things that looked great on earth will be shown to be small. Some sacrifices that looked foolish or unnoticed will be openly rewarded by Christ.    Life Application At the Judgment Seat of Christ, the question is not, “Are you saved?” No.  The believer's condemnation has already been dealt with in Christ. The question is rather: “How have you as a saved person followed, served, sacrificed, and valued Christ?” Let us not measure our life only by what we keep now, but by what Christ will count then.  Lord God, thank You that salvation does not rest upon our merit, wealth, strength, or status. Thank You that what is impossible with man is possible with You. Help us come as children, trust in Christ, and await the kingdom You have promised. For your glory!  Amen.

髙倉さんの姪っ子にる攻めをされすぎて精根尽き果てたあと、宮崎県で4食チキン南蛮食べて復活。(編集：トロニー)取るに足りないものごとを拾い上げて面白がるポッドキャスト、中トロラジオです!!登場人物・中西→名古屋、男子校、演劇サークル出身。・トロニー→内モンゴル、富山、音楽系（根暗）サークル出身。名字がない。ふたりとも建築学科から非建築業界に就職した男性、30歳です。おたより、感想ツイートなどなどお待ちしています！おたよりはこちらから↓https://forms.gle/2dR4MwLpdDDoJgLd6中トロラジオのdiscordサーバーはこちら↓https://discord.gg/8bHBj5wd2Fーーーーー◎最高のオープニングゆnovation『pop out!』(yunovation.net)各種配信サービスでいつでも聞けます！https://linkco.re/SSFZfhxF◎珠玉のアートワークプランニング : 古林萌実(@__moem3in)デザイン：佐藤祐太郎(@yutarooo811)CG：嶋江大悟

Saturday, 16 May 2026   So Jesus said to them, “Assuredly I say to you, that in the regeneration, when the Son of Man sits on the throne of His glory, you who have followed Me will also sit on twelve thrones, judging the twelve tribes of Israel. Matthew 19:28   “And Jesus, He said to them, ‘Amen! I say to you that you, the ‘having followed Me', in the rebirth, when He shall sit, the Son of Man, upon ‘throne, glory, His', you will sit, also you, upon twelve thrones, judging the twelve tribes – the Israel.'” (CG).   In the previous verse, Peter noted to Jesus that he and the others had left all and followed Him. As such, he asked what they would have. In response, Matthew records, “And Jesus, He said to them, ‘Amen!'”   As usual, when making a solemn proclamation, Jesus begins with “Amen.” His word is to be accepted as an assured truth. Continuing, He says, “I say to you that you, these having followed Me.”   The response is limited to true followers of Jesus. For example, there are many people who claim Jesus at this time. Hebrew Roots, Mormons, and Seventh Day Adventists, all claim to follow Jesus, but their doctrine holds to either a false Jesus (2 Corinthians 11:4), or a false gospel (Galatians 1:6-8). Jesus' words are exclusive of such. He next says, “in the rebirth.”   Two points about this. First, it is a new and rare word, paliggenesia, rebirth. It is from palin, again, and genesis, nativity. As such, it refers to a spiritual rebirth or the messianic restoration. It is only found elsewhere in Titus 3:5 –   “...not by works of righteousness which we have done, but according to His mercy He saved us, through the washing of regeneration [paliggenesia] and renewing of the Holy Spirit.”   The second point is what this is referring to. Some tie the word to the previous clause. Others to the second clause –   “I say to you that you, the ‘having followed Me' in the rebirth...”   “I say to you that you, the ‘having followed Me', in the rebirth, when He shall sit, the Son of Man, upon ‘throne, glory, His'.”   The first option assigns this time as beginning with John the Baptist and continuing through Christ's ministry. The correct option is the latter. After Christ's ministry is complete and the Holy Spirit is poured out, then the rebirth is made possible. Therefore, Jesus' words are referring to what lies ahead in the future “when He shall sit, the Son of Man, upon His throne of glory.”   This then leaves open a couple of interpretations. Is this referring to the millennium or to the eternal state. Isaiah 65:17 speaks of a new heaven and a new earth. Thus, many equate it to what is said in Revelation 21:1, where it appears the same thought is presented.   However, this is incorrect. In Isaiah 65, it continues, referring to death, such as “For the child shall die one hundred years old.” In fact, such thoughts fill Isaiah 65:20-22. But in Revelation 21:4, it goes on to say, “And God will wipe away every tear from their eyes; there shall be no more death, nor sorrow, nor crying. There shall be no more pain, for the former things have passed away.”   This cannot be the same time frame. Rather, it refers to the millennium. At that time, Jesus will sit on the throne of His glory, exactly what was prophesied to Israel in the prophets. This will be literally fulfilled. At that time, when Jesus is received as Israel's promised Messiah, He emphatically declares to His disciples, “also you upon twelve thrones, judging Israel's twelve tribes.”   The twelve disciples, who Jesus designates, will act in leadership roles. The idea of judging is not merely that of a court judging offenses. It is a way of referring to leadership, just as the judges of old served under the Lord. In this case, it will be the Lord incarnate with them serving and judging under Him.   Life application: It cannot be that the millennium will be overlooked. God made promises to Israel that must be fulfilled. To say that Isaiah 65 is to be fulfilled in “spiritual Israel,” supposedly meaning the church, does a complete disservice to the promises made exclusively to Israel. The dispensational model must be worked through for people to fully comprehend man's total dependence on God's grace as given through Jesus Christ.   If the millennium does not occur, there will be a void in this progression and in man's seeing what needs to be seen. And more, contradictions in the text itself are seen, such as noted above. Other glaring and irreconcilable contradictions will also arise.   Jesus does not say that the rebirth is the time of the millennium. He says that the time of the millennium will occur in the time of the rebirth –   NO: “the ‘having followed Me', in the rebirth, He shall sit, the Son of Man.” YES: “the ‘having followed Me', in the rebirth, when He shall sit, the Son of Man.”   Jesus includes the word hotan, when (implying hypothesis or more or less uncertainty). In Titus, Paul has shown that the rebirth is an event that occurs based on our relationship with Jesus. It is a condition that believers now possess.   At some point after the commencement of this event, which has been going on for two thousand years thus far, those in this state will enter the millennium, and Jesus will sit on His throne of glory. This promise is made apart from any notion of the rapture or the tribulation. It is simply a point of fact that will occur.   The rapture was, and remained, an unknown event until it was described by Paul with the words, “Behold, I tell you a mystery” (1 Corinthians 15:51). There is no need to shove either the church age or the rapture into Jesus' words here. They simply do not fit. He is speaking to Israel, under the law, about things promised in the law to Israel. He is further defining those matters at this time.   Lord God, You are ever faithful to Your people. We thank You that it is so. Your faithfulness to Israel means You will be likewise faithful to us. And what an encouragement that is. We fail You often, but because of Jesus, we are secure in You. Hallelujah to You, O God! Amen.

Friday, 15 May 2026   Then Peter answered and said to Him, “See, we have left all and followed You. Therefore what shall we have?” Matthew 19:27   “Then answering, Peter, he said to Him, ‘You behold! We, we left all, and we followed You! What hence it will be to us?'” (CG).   In the previous verse, Jesus assured the disciples that even if salvation is impossible with men, with God, all things are possible. Next, Matthew records, “Then answering, Peter, he said to Him.”   Peter's zeal to speak up once again comes to the forefront. He was bold to speak, not always with careful thought behind his words, but at times his utterances were profound. In this case, his question follows naturally after the discussion about entering the kingdom of the heavens. He emphatically says, “You behold! We, we left all, and we followed You!”   Earlier, Jesus had said to the young ruler, “If you want to be perfect, go, sell what you have and give to the poor, and you will have treasure in heaven; and come, follow Me” (Matthew 19:21).   Peter has emphatically noted that they had done just that. They were not rulers in Israel, but they had willingly stepped away from their previous lives as soon as Jesus made the call. This does not mean they didn't continue to fish. Jesus told Peter to go fishing, and in the first fish he caught, there would be a coin in its mouth.   What it does mean is that they set aside their vocations to wholeheartedly follow Jesus. If at some point, Jesus said, “We need fish,” it can be assumed that those who were fishers went out and got some. Whether they worked or not at times is not the issue. The issue is that their lives, including any temporary jobs, were directed to the ministry.   Because they had left all behind to follow Jesus, Peter's emphatic declaration was surely intended to “remind” Jesus of this fact. And so, he continues, asking, “What hence it will be to us?”   The words can be taken in various ways. But the substance behind the question is just as anyone would rightfully wonder, regardless of the intent of the heart, “Lord, what lies ahead for us in the kingdom?” One may have been thinking of riches, another of sitting in a powerful position, etc.   It is impossible for us to know the intent behind Peter's question, but it is a logical one from any perspective. The fact that it is asked is really the issue. Jesus said to the young ruler, “Come, follow Me.” Nothing was stated to him about what type of treasure in heaven he would receive. But Peter wants to know.   Life application: The Bible tells us various things about what believers can expect, chief among them is the prospect of eternal life. However, we are not given a detailed list of the treasures associated with what eternal life will be.   If we are to live lives that are like we have now, getting sick, breaking bones, frustrations of various sorts, etc., would eternal life really look so great? What we do know is that things will be very different. Things like pain, death, and sorrow will be gone. These are promises in God's word. As such, we can be confident that whatever else is associated with eternal life, it will be wonderful.   As such, there is no need to ask beyond what has been promised. God will reveal it to us in due time. The call will be made, and this mortal will be replaced with immortality. This is the great hope of the believer. Until that day, may we not lose heart. The world is a tragic place at times, and we must endure through it.   We should not take what we know about existence now and assume that what is coming will be like it, but better. Rather, it will be unlike it and infinitely better. Hold fast to this. God has promised us restoration. Therefore, it will come to pass.   Lord God, how grateful we are for the hope of a new and better existence, apart from sin and its consequences. May our hearts and minds be directed to You all our days as we anticipate the glory to come. Praises to You, O God, for the words of life and restoration promised in Your word. Amen.  

Thursday, 14 May 2026   But Jesus looked at them and said to them, “With men this is impossible, but with God all things are possible.” Matthew 19:26   “Having gazed, also, Jesus, He said to them, ‘With men, this – impossible, it is. With, also, God – all possible, it is.'” (CG).   In the previous verse, the disciples were floored at Jesus' words about the chances of the rich entering the kingdom of God, asking, “Who then can be saved?” Because of their question, it next says, “Having gazed, also, Jesus.”   This is only the second time the word emblepó is seen in Matthew. It is from en, in, and blepo, to look. As such, it is more than just looking, but “in-looking” or gazing at, observing fixedly, etc. In Matthew, it doesn't say who or what Jesus gazed at, but in Mark, it specifically says He gazed at them, meaning the disciples.   Something prompted more than just a cursory look. They may have had confusion, fear, or even a sense of horror at what they heard. If salvation is that hard to obtain, then what will happen to them, their families, or even their nation? Jesus, understanding the magnitude of weight His words placed on their minds, next responds. Matthew records, “He said to them, ‘With men, this – impossible, it is.'”   A new word is seen, adunatos, to be unable. It is derived from the negative particle a adjoined to dunatos, powerful or capable. That is derived from dunamai, to be able or possible. Jesus refers to the impossibility of the rich saving themselves (with men).   Whatever thoughts the disciples had about salvation, Jesus had taken their highest supposed ideal, that of a rich man, and He had negated any chance of such a person saving himself.   The implication, then, is that all others would fare just the same. None could save themselves. With that difficult thought expressed, He then provides a ray of good news, saying, “With, also, God – all possible, it is.”   The first use of dunatos is seen here. It was explained already. Where there is no chance of humanity saving itself, with God, it is possible. The disciples had not thought through their state from a biblical perspective. But neither had anyone in Israel done so. If they had, they would not believe that the rich were more easily saved than anyone else.   Only in the writings of Scripture, inspired by God, is there a hint of the thought expressed by Jesus. There is a problem that exists within humanity that, by default, negates any hope of man being able to restore himself to God. That problem is sin. It is an internal infection that is found in all humanity.   As sin comes through law, it should have dawned on Israel that the medium in which they existed, that of law, would never correct their state, even with the efforts of the most law-observant person.   Life application: Imagine a perfect precision machine that requires a particular perfect part to work without catastrophic failure. It is known that such a part is possible to be constructed, but from the first prototype onward, a flaw is found in every single part that follows.   Would it make sense to use one of those parts in this perfectly precision machine? Of course not! The machine itself would fail. It would be pointless to even try to use a part with a known defect. Every single copy of the original would have to be destroyed.   The problem isn't with the form of the prototype. Rather, it is the state of the prototype. Every piece molded after it carries the same state. To resolve this, another prototype with the same form could be introduced. However, if it had a perfect state to go along with its form, it would be an acceptable “first part.”   And more, because it isn't the form, but the state, it could be used to change the state of parts from the original prototype. The form wasn't the problem. There must be a realm, or state, in which the part exists that will make each previously defective part acceptable. Once that is realized, the problem is resolved.   The problem for the parts is that they have no power to change their state. They simply exist in the state in which they were produced. But an external source could make the change. This is what Jesus is speaking about. Humanity is in a state that does not, and indeed cannot, restore itself to perfection.   But God, who is outside of our realm, could make the change. He could, and He did. When that change was effected, it was then made available to all others. This is why no other religion on the planet can bring salvation. They are dealing within the state of corruption. This is because there is one God, and His correction for our state is only found in Jesus.   Only this one, true God, can bring about the necessary change in our state. And He did! Thank God for the goodness of God in Christ. Through the incarnation, cross, and resurrection of Jesus Christ, we go from the state of law to the state of grace. Hooray for Jesus!   Lord God, we have a fault within us that is impossible to correct. No wonder destroying the whole world by flood, minus eight people, still didn't fix the problem. The corruption remained. What amazing lessons You are giving us in Your word. We need what You have done through Christ. It is evident that nothing else will do. And so, we choose JESUS! Amen.  

Jim Hill and Drew Taylor unpack the latest animation and box office news, from the surprising strength of The Devil Wears Prada 2 to new reveals tied to Toy Story 5, Dragon Striker, and Netflix's Annecy plans. The duo also discuss upcoming art books, anime releases, and Tom Sito's new memoir about the animation renaissance of the 1980s and 1990s. Along the way, they reflect on how modern animation continues to blur the line between live-action and CG filmmaking. HIGHLIGHTS • The Devil Wears Prada 2 narrowly defeats Mortal Kombat II at the North American box office during a crowded Mother's Day weekend • Amazon MGM's Sheep Detective overperforms thanks to strong reviews and audience response • Target stores begin rolling out extensive Toy Story 5 merchandise months ahead of the film's theatrical debut • Jim and Drew discuss the latest trailer for Minions & Monsters and its playful references to classic Hollywood history • Disney XD and Disney+ finally announce premiere dates for Dragon Striker after the series' lengthy delay from its original Annecy reveal • Netflix prepares its latest Annecy Festival animation showcase while GKIDS sets a June release for the anime feature Another World • New animation art books spotlight Star Trek: Lower Decks, Your Friendly Neighborhood Spider-Man, and Laika's upcoming Wildwood • Tom Sito's memoir Drawing Life Back into Animation offers firsthand stories from the rise of modern feature animation in Hollywood HOSTS • Jim Hill - X/Twitter: @JimHillMedia | Instagram: @JimHillMedia | Website: jimhillmedia.com • Drew Taylor - X/Twitter: @DrewTailored | Instagram: @drewtailored | Website: drewtaylor.work FOLLOW • Facebook: @JimHillMediaNews • YouTube: @jimhillmedia • TikTok: @jimhillmedia • Patreon: https://www.patreon.com/jimhillmedia/ SUPPORT Support the show and access bonus episodes and additional content at https://www.patreon.com/jimhillmedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - https://strongmindedagency.com SPONSOR UnlockedMagic.com - Save on your next Disney or Universal vacation with exclusive ticket deals from travel experts who know the parks inside and out: https://unlockedmagic.com/?utm_source=partner&utm_campaign=finetooning If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. https://www.jimhillmedia.com/sponsor/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Colby Day is a breath of fresh air who refuses to be performative. In an industry that runs on heat and carefully curated perception, he just gives it to you straight. Day is an Emmy-nominated writer whose credits include the Netflix film "Spaceman" starring Adam Sandler and "In the Blink of an Eye," which premiered at Sundance this past year. He also served as a writer and story editor on Apple TV's For All Mankind season five. He is also the creator of Hollyweird, a Substack where he documents the unglamorous reality of being a working writer in Hollywood with more honesty than almost anyone else in this business. His directorial debut "The Comedy Hour "with Tim Heidecker and Tatiana Maslany is up next. This was one of my favorite chats of the year so far. Colby and get super real about 10-year timelines, selling a show and watching it collapse, why transparency is a radical act in this industry, and what keeps us going when everything falls apart. Tune in! xx CG

In this episode, I chat with creature effects artist, puppeteer and digital pioneer Craig Caton-Largent about a career that arguably traces the entire arc of modern visual effects — from foam latex and animatronics to motion control, performance capture and full CG animation. Craig talks about growing up on a sheep and cattle ranch in Washington State, being captivated by the 1960s Batman TV show and then Planet of the Apes, and teaching himself prosthetics from Dick Smith's Monster Makeup Handbook. After tracking down Dick Smith's address in Who's Who in America, he wrote a letter that led to a year of mentorship over cassette tapes and ultimately introductions to Rick Baker, Stan Winston and Tom Burman. We get into his first job on Charles Band's Metal Storm: The Destruction of Jared-Syn, working on the Olympic alien for the 1984 closing ceremonies, sculpting barnacles on Cocoon, building Spock's seamless silicone ears on Star Trek IV: The Voyage Home, undulating menacingly under shaving cream on Larry Cohen's The Stuff, and puppeteering Slimer's mouth on the original Ghostbusters. A big part of the conversation focuses on Jurassic Park, including the design evolution of the T-Rex, the helicopter convention moment that led to the McFadden motion base, the logistics of moving the full-size animatronic across the San Fernando Valley at night, and Craig's work as the Raptor puppeteer, including the now-legendary "head tilt" at the kitchen window that earned an on-set "It's like Alien, I love it" from Spielberg. We also talk about Craig's twenty-year stint as the caretaker, or "doctor", to the original ET puppet, including the time the LAPD turned up at his garage door thinking he was running a crack lab while he was actually repainting ET. Plus the story of how Stan Winston handing him a couple of SGI machines led, almost overnight, to him becoming one of the eight co-founders of Digital Domain alongside James Cameron and Scott Ross. Later in the conversation we move into Craig's animation career as a final layout artist and character TD at DreamWorks and Disney, with credits on Tangled, Rise of the Guardians, How to Train Your Dragon 2 and Turbo, and stories from working with Guillermo del Toro at DreamWorks. We finish on Craig's current role as Creative Director of the 3D Animation and Visual Effects department at the New York Film Academy in Burbank. Topics coveredGrowing up on a Washington State ranch and falling in love with Planet of the ApesFamous Monsters of Filmland and Dick Smith's Monster Makeup HandbookCold-writing to Dick Smith and a year of cassette-tape mentorshipArriving in Hollywood at the start of the "golden age" of effectsFirst feature work on Metal Storm: The Destruction of Jared-SynThe closing ceremonies of the 1984 LA Olympics and Ron Cobb's alienSculpting barnacles and cocoons for Cocoon (1985)Seamless silicone Spock ears on Star Trek IV: The Voyage HomeThe Stuff with Larry Cohen and "undulating menacingly"Puppeteering Slimer's mouth on GhostbustersDesigning the T-Rex around helicopter flight simulator technologyWorking with McFadden Simulation on the T-Rex motion baseMoving the full-size T-Rex across the San Fernando ValleyBuilding a 70lb Steadicam-rigged Raptor insert head for Jurassic ParkUsing parrots as reference for bird-like Raptor movementThe kitchen porthole head tilt, and Spielberg's "It's like Alien" reactionUsing Kermit the Frog's voice on set as the Raptor performerTwenty years as ET's "doctor", and the LAPD crack-lab incidentET's arm in a rifle case at JFK a week after 9/11Motion capture experiments and blood-spread effects on Interview with the VampireA flying logo on an Amiga, and becoming a co-founder of Digital DomainWorking with Stan Winston, James Cameron and Scott RossMoving into animation: character rigging at Disney on TangledFinal layout and virtual camera work at DreamWorks on Rise of the Guardians, How to Train Your Dragon 2 and TurboLunches with Guillermo del Toro in the DreamWorks canteenPre-vis on the Total Recall remake with Len WisemanTeaching the next generation at the New York Film Academy, BurbankThe unique "intergalactic award" Spielberg gave Craig for puppeteering ETThis podcast is completely independent and made possible by listener support. If you'd like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Jim Hill and Drew Taylor unpack the latest animation and box office news, from the surprising strength of The Devil Wears Prada 2 to new reveals tied to Toy Story 5, Dragon Striker, and Netflix's Annecy plans. The duo also discuss upcoming art books, anime releases, and Tom Sito's new memoir about the animation renaissance of the 1980s and 1990s. Along the way, they reflect on how modern animation continues to blur the line between live-action and CG filmmaking. HIGHLIGHTS • The Devil Wears Prada 2 narrowly defeats Mortal Kombat II at the North American box office during a crowded Mother's Day weekend • Amazon MGM's Sheep Detective overperforms thanks to strong reviews and audience response • Target stores begin rolling out extensive Toy Story 5 merchandise months ahead of the film's theatrical debut • Jim and Drew discuss the latest trailer for Minions & Monsters and its playful references to classic Hollywood history • Disney XD and Disney+ finally announce premiere dates for Dragon Striker after the series' lengthy delay from its original Annecy reveal • Netflix prepares its latest Annecy Festival animation showcase while GKIDS sets a June release for the anime feature Another World • New animation art books spotlight Star Trek: Lower Decks, Your Friendly Neighborhood Spider-Man, and Laika's upcoming Wildwood • Tom Sito's memoir Drawing Life Back into Animation offers firsthand stories from the rise of modern feature animation in Hollywood HOSTS • Jim Hill - X/Twitter: @JimHillMedia | Instagram: @JimHillMedia | Website: jimhillmedia.com • Drew Taylor - X/Twitter: @DrewTailored | Instagram: @drewtailored | Website: drewtaylor.work FOLLOW • Facebook: @JimHillMediaNews • YouTube: @jimhillmedia • TikTok: @jimhillmedia • Patreon: https://www.patreon.com/jimhillmedia/ SUPPORT Support the show and access bonus episodes and additional content at https://www.patreon.com/jimhillmedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - https://strongmindedagency.com SPONSOR UnlockedMagic.com - Save on your next Disney or Universal vacation with exclusive ticket deals from travel experts who know the parks inside and out: https://unlockedmagic.com/?utm_source=partner&utm_campaign=finetooning If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. https://www.jimhillmedia.com/sponsor/ Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we're talking about the fighting tournament that decides the fate of the planet...again. It's Mortal Kombat 2 and we're talking about a more female focused kombat, practical sets vs CG, the Poochy of it all, and if it's inspiring to be 57. Watch our host Andrew Ivimey in his full length comedy special LET'S GO! available to stream right now on the Comedy Bar Max Youtube channel.

ローリングストックシステムにより、ゴールデンウィーク前に録音したものをいまさら公開！みんなゴールデンウィーク楽しめた？(今回編集した人：中西)ーーー取るに足りないものを拾い上げて面白がるポッドキャスト、中トロラジオです！登場人物・中西→名古屋、男子校、演劇サークル出身。・トロニー→内モンゴル、富山、音楽系（根暗）サークル出身。名字がない。ふたりとも建築学科から非建築業界に就職した男性、30歳です。おたより、感想ツイートなどなどお待ちしています！おたよりはこちらから↓https://forms.gle/2dR4MwLpdDDoJgLd6中トロラジオのdiscordサーバーはこちら↓https://discord.gg/8bHBj5wd2Fーーーーー◎最高のオープニングゆnovation『pop out!』(yunovation.net)各種配信サービスでいつでも聞けます！https://linkco.re/SSFZfhxF◎珠玉のアートワークプランニング : 古林萌実(@__moem3in)デザイン：佐藤祐太郎(@yutarooo811)CG：嶋江大悟

In 1997, two movies decided to erupt onto cinema screens at the same time, literally and figuratively. The chaotic rivalry between Dante's Peak and Volcano is one of the biggest examples of Hollywood's twin movies phenomenon, and while both were created organically, their rivalry would lead to condensed timelines and moved release dates, and a lasting legacy of "which 1997 volcanic eruption movie is your favourite?"For its part, Dante's Peak attempted to be more scientifically accurate than its Californian counterpart, showcasing a volcanic threat through a small-town lens, taking inspiration from the 1980 eruption of Mount St. Helens.Volcano, on the other hand, was filmed on location in Los Angeles, and showed the impossible geological event of a volcano suddenly appearing at the La Brea Tar Pits.Dante's Peak prioritized practical effects, while Volcano went for mostly CG lava flowing down Wilshire Boulevard.There are remarkable similarities between the two: Both centre on a scientist who reads the warning signs correctly and is dismissed by skeptical authority figures. Both embed the disaster within a tentative romance between that scientist and a civic official. Both have children in mild peril. Both have characters that meet untimely and excruciatingly painful ends. Both climax with the eruption vindicating everything the expert said from the start. And most importantly, both ensure the dog survives!The finished films feel like two productions that started from the same idea and then diverged; Dante's Peak going intimate and procedural, Volcano going maximalist and fantastical. Dante's Peak and Volcano were the product of one of Hollywood's most feverish production races, and the competition between them shaped both films in ways that went far beyond schedules and box office returns.The Geology P.A.G.E.: Geological Movie Review of Dante's Peak - OverviewSupport Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app

Tuesday, 5 May 2026   So He said to him, “Why do you call Me good? No one is good but One, that is, God. But if you want to enter into life, keep the commandments.” Matthew 19:17   “And He said to him, ‘Why, to Me, you say, “Good?” None ‘good', if not One – the God! And if you desire to enter ‘the life', you guard the commandments!'” (CG)   In the previous verse, Jesus was asked by one who came to Him concerning what he needed to do to have perpetual life. The response is now given, saying, “And He said to him, ‘Why, to Me, you say, “Good.”?'”   This is in response to the man's words to Jesus, “Good Teacher...” The word “good” is not in all texts, and people debate over whether it belongs there or not. This is probably because elsewhere people are called “good.” For example, Jesus uses the term in Matthew 12:35, where He says that a good man, out of the treasure of his heart, brings forth good things.   It may be that to avoid a supposed contradiction, this word was taken out. Such instances do not demonstrate any contradiction. Jesus is, at the time, being asked about how to have perpetual life. As seen in the previous commentary, that was most certainly based on Leviticus 18:5. As such, it is a matter of law. Jesus has come. The law was a tutor to point people to Christ.   In other words, though the promise of attaining life through the law was given, it was obvious by the time Christ came that nobody could do it. Therefore, there was a need for the Messiah – God incarnate – to come and do what no fallen person could do.   It is for this reason that Jesus asked why He was called “Good Teacher.” It is the reason He continues that thought, saying, “None ‘good', if not One – the God!”   The law was given by God. It is His standard. If someone could do the things of the law, it would mean he was God. This is because original sin already infects humanity. We are fallen and, as Paul explains, we are incapable of perfectly performing under the law. Rather, “Therefore by the deeds of the law no flesh will be justified in His sight, for by the law is the knowledge of sin” (Romans 3:20).   Jesus is indicating this to the man, and to all who will heed. In order to continue that line of thought, He next says, “And if you desire to enter ‘the life', you guard the commandments!”   A new word is seen here, téreó, to guard, such as from loss or injury. This is done by keeping an eye on what is being guarded, as a guard in a watchtower or other station would do.   The meaning is, if he does just what it says in Leviticus 18:5, he will enter ‘the life'. As it says, “And you guard my enactments and my verdicts, which he will do them, a man, and he lived in them. I, Yehovah” Leviticus 18:5 (CG). This is what will bring life.   Life application: If you want to enter the life that is eternal, Jesus says you must guard the commandments, just as it says in Leviticus 18:5. As is seen from Israel's history, this means perfectly, without one error or slip-up. Nobody else was able to do it. Do you think you can? But, as Jesus has shown, it is the only way to enter eternal life.   Oh no! This is a problem. Israel still doesn't get it thousands of years later. And so, what are we to do? The answer is, “Trust in Jesus.” He did the things of the law perfectly. Being God, He was capable of doing so. Now, through trust in Him, life can be obtained.   His work and perfect righteousness are imputed to those who will trust, by faith, that what He has done is sufficient to accomplish what God expects. In other words, God DOES NOT expect YOU to fulfill the law. It was given as a tutor to lead humanity to Christ. God expects you to TRUST JESUS' FULFILLMENT OF THE LAW.   So... do it today. Give up on yourself and commit your hopes to the merits of Jesus Christ. He will not let you down.   Lord God, thank You that we don't have to earn what has been so graciously granted to us by You through the giving of Jesus. May we never disgrace the cross of Jesus Christ by attempting to merit Your favor through our own pitiful attempts at attaining righteousness. Instead, we will trust JESUS! Amen.

Director Olivia Newman ("Where the Crawdads Sing") shares insights on making her latest film, "Remarkably Bright Creatures" (premiering May 8th on Netflix), including bringing to life the central CG character of Marcellus the Octopus.

Emmi Almeida is one of the most decorated high school athletes in the Central Valley. A two-time state champion, multiple MVP awards, D2 player of the year... and that's just basketball. There's more when volleyball and softball enter the chat. Anna Almeida is the head coach for Caruthers girls basketball and Emmi's mom. CG has followed the journeys of Emmi, Anna and Caruthers for the past three years. With Emmi graduating soon, it was time to look back and look ahead as Emmi just signed a Letter of Intent to play basketball at Fresno Pacific University. The Christopher Gabriel Program ----------------------------------------------------------- Please Like, Comment and Follow 'The Christopher Gabriel Program' on all platforms: The Christopher Gabriel Program is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts. --- The Christopher Gabriel Program | Website | Facebook | X | Instagram | --- Everything KMJ KMJNOW App | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Wednesday, 29 April 2026   But He said to them, “All cannot accept this saying, but only those to whom it has been given: Matthew 19:11    “And He said to them, ‘Not all, they contain this word, but whom it has been given.'” (CG)   In the previous verse, the disciples responded to Jesus' words about marriage and divorce, saying that because of what He said, it is better not to marry. Having heard that, Matthew records, “And He said to them, ‘Not all, they contain this word.'”   The question arises: Is Jesus referring to His own words concerning marriage, or is He referencing the response by the disciples? His continued words through the next verse will show that it is in response to what the disciples said –   Disciples: “If it is this, the case of the man with the wife, it conduces not to marry.” Jesus: “Not all, they contain this word.”   Of this, the Pulpit Commentary rightly states that Jesus “endorses these words in a different signification from theirs. Their objection to marrying arose from the impossibility of putting away a wife for any cause. Christ passes over these ignoble scruples and enunciates the only principle which should lead a man to abstain from marriage.”   In other words, Jesus is going to explain that there is a certain condition where not getting married is to be expected. Beyond that, marriage is the standard which is set for human existence. Despite all of its baggage and many setbacks, it is the normal, anticipated, and expected path for humans to follow. Understanding this, the following words introduce the matter concerning who is anticipated not to get married, saying, “but whom it has been given.”   Said differently, “Marriage is God's plan for humanity, but it must be adhered to according to God's expectation for marriage. It is a difficult but proper path to follow. However, there is an exception to this expectation for a particular category, they are...” From this point, Jesus will explain those who are the exception.   Life application: The point of this interaction between Jesus and the disciples, and the substance behind it, is that marriage is the proper avenue for humanity. In Genesis 1, the six days of creation are detailed. At the end of day 6, it said –   “And He saw, God, all which He made. And behold! Good, vehemently. And it was, evening, and it was, morning – Day, the sixth.” Genesis 1:31   Everything was good at the end of the sixth day of creation. From there, Genesis 2:4-25 is given as an insert to the portion of the sixth day concerning the creation of man. The Lord created the man, he was then placed in the garden, and he was given a command not to eat the fruit of the tree of the knowledge of good and evil.   Right after that, it said, “And He said, Yehovah God, ‘Not good, being the human to his separation. I will make to him ‘helper, according to counterpart'.'” Genesis 2:18 (CG). During the sixth day of creation, there was something not good, a lack, which needed to be rectified.   To reveal this, the animals and birds were brought forward to be named by Adam. With that accomplished, it said, “And to Adam, not he found ‘helper, according to counterpart'.” Genesis 2:20 (CG). Adam could see there were male and female creatures, but he was alone in his kind.   With that understanding, the Lord put the man into a deep sleep, fashioned the woman from his side, and she was presented to him. At that time, Adam made his proclamation concerning the woman. Genesis 2 says –   “‘And he said, the man – “This the beat: Bone, from my bones, And flesh, from my flesh. To this, it will be called ‘Woman.' For from man, she was taken – this.”' 24Upon thus, he will relinquish, man, his father and his mother, and he impinged* in his wife. And they were to flesh – one.” Genesis 2:23, 24 (CG).   With this completed, the words of Genesis 1:31 are properly understood, “And He saw, God, all which He made. And behold! Good, vehemently.” Only after the creation of woman for man and the acknowledgement that they were fashioned for one another was the sixth day considered good. It is the expected norm for humanity since that time for humans to marry and continue the species accordingly. To not do so is considered the exception.   A logical question for those who insist on long-term creation arises from this thought. “If man is created, not having evolved, and if everything was good at the end of the sixth day, but it was not good during the sixth day, then how can that be reconciled with a long-term creation?” It cannot.   Either the record of man's creation in one day is true, following the pattern from the other single days of creation, or 1) the account of man's creation is false, or 2) the record of the Genesis 1 account (regardless of how long it actually was) is false, or 3) the entire Genesis creation account is false. Everything hinges on six literal days of creation, with man having been created in one day on the sixth day.   One cannot have things both ways. Either God's word stands and is true and reliable, or it is not. If Genesis 1 and 2 are merely allegorical, then Jesus' words about marriage hold no significance. If this is true, then the Christian message concerning moral issues has no validity at all.   Think things through! Don't be so foolish as to think you can outsmart God. We all must stand before Him and give an account of our lives and doctrine. Accept the word as it is written. It is truth.   Lord God, thank You for the rite of marriage that has existed since the first man on earth. Thank You that even though we fail one another at times, this is the beautiful course of life You have set forth for us. Help us to be faithfully faithful to one another as we live in Your presence. Amen.

Featuring: Michael "Boston" Hannon and Paul "Moonpir" Smith Running Time: 48:48 Video Version: YouTube For this episode of TVGP's Critical Misses we finally cover 2005's War of the Worlds! Join us as we chat about what job Tom Cruise will have this time, how much running there might be, how terrible humans can be, practical effects, well aged CG, actors we don't see much anymore, and much, much more! Applause sound effect from SoundBible Royalty free music from https://www.fesliyanstudios.com Become a patron of TVGP for just a few dollars a month at E1M1's Patreon Page! Get two month early access to Critical Misses, uncensored outtakes, production meetings, and much more for just $5/month!

Just me talking about staying tool agnostic as a commercial director—moving between live-action, CG, and AI without losing my point of view. I share recent job stories, how I'm using my Filmmaker Retreat Joshua Tree and Posh Duo promos as testing grounds for new tools, and why I still put actors, crew, agency team - you know - collaboration above whatever camera, crane or software is hot this week. Storytelling with the talking pictures, that's the fun. FILMMAKER RETREAT JOSHUA TREE '26 - JOIN US Oct. 1–4: our 5th Annual Retreat. SIGN UP NOW No application. Just save your spot and come learn, shoot, and grow with working filmmakers. Limit 15.  POSH DUOThe original 2-in-1 styling wax stick. I use Posh Duo to keep my hair fly and my beard on point. Free shipping for RTP listeners. Get the Posh look. A portion of the proceeds from every stick sold goes to Wigs For Kids. Free shipping until the official launch. ONLINE FILMMAKING COURSES - DIRECT WITH CONFIDENCEEach of my online courses come with a free 1:1 mentorship call with yours truly. Taking the Shadow course is the only way to win a chance to shadow me on a real shoot! DM for details. Want to level up your commercial directing game? MAGIC MIND - MY MENTAL PERFORMANCE EXILIRSave hugely on Magic Mind with this link. — This link is the way. Thanks, Jordan My cult classic mockumentary, "Dill Scallion" is online so I'm giving 100% of the money to St. Jude Children's Hospital. I've decided to donate the LIFETIME earnings every December, so the donation will grow and grow annually. Thank you. "Respect The Process" podcast is brought to you by Commercial Directing FIlm School and True Gent, aka True Gentleman Industries, Inc. in partnership with Brady Oil Entertainment, Inc.  

Alliance faculty member and nationally recognized coverage expert Cathy Trischan returns with Part II of Insuring Contractors: The Additional Insured Basics You Need to Know. Building on the history covered in Part I, this discussion focuses on how today's ISO additional insured endorsements operate in real-world contracts. Cathy explains the intent and limitations of commonly used forms—such as CG 2010, CG 2033, and CG 2038—and why understanding their wording is critical to effective risk transfer. The episode highlights the impact of privity of contract and key court decisions that narrowed automatic additional insured coverage, creating uncertainty across jurisdictions. Cathy also breaks down the often-misunderstood divide between ongoing operations and completed operations coverage, explaining when separate endorsements are required and why completed ops remains a persistent challenge. Throughout the episode, she emphasizes the importance of scrutinizing carrier proprietary forms, identifying hidden restrictions, exclusions, and contract-based triggers that can undermine coverage. The takeaway is clear: navigating additional insured requirements today requires careful endorsement selection, contract awareness, and a practical understanding of how coverage language plays out after a loss. Focusing exclusively on risk management and insurance professional development, the Risk & Insurance Education Alliance provides a practical advantage at every career stage, positioning our participants and their clients for confidence and success.

Mike Lewis, FACMPE, MBA, is a former Partner in Cg's Healthcare Services Group and is now a serving a Director after his partial retirement in 2025. Mike is a healthcare professional with over 45 years of experience in the industry. Prior to joining the firm, he spent 27 years as a senior healthcare executive bringing a wealth of knowledge in medical practice management to Cg Tax, Audit & Advisory. Mike is a recognized expert at identifying opportunities and solving challenges within medical practices, allowing doctors to focus on delivering patient care.

The GA accident rate is getting better, but aviation safety researcher Douglas Boyd says there's still plenty of work to do. He shares a fascinating array of statistics in this episode, pulled from the 300+ papers he has authored, including how many hours is enough to stay proficient, what really causes landing accidents, and the truth about older pilots' safety record. In the Ready to Copy segment, Dr. Boyd talks about flying out of CG, whether engine TBO really matters, and the best places to visit in Scotland.SHOW LINKS:* Airline vs. GA pilot safety:https://commons.erau.edu/publication/1494/* Aging pilots study: https://commons.erau.edu/publication/2419/* PJ2 GPS Radio: https://sportys.com/PJ2GPS

The October Consortium has developed a sudden interest in Guardian civilisation, and they're willing to pay for samples of Guardian technology.The CG is at Exogene Sciences in HIP 87621, and you need to gather various Guardian artefacts to take part.

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

The crew talk about the CG and play the waiting game for any more information about operations, no seriously, any more. Please.Community Corner“The Rise and Fall of the Guardians” by Xpeigh - https://youtu.be/9uq2h1rSBXI“The CAMERA SUITE | Elite Dangerous: How We Film Stuff” by The Buur Pit - https://youtu.be/oFiW5EnF1So“How to Make Exobiology Faster and More Profitable” by Mile13 Gaming - https://youtu.be/0ZBS2DzQz-o“Distant Worlds 3 Interview with Karnath & Andrew Gaspurr” by Digmbot - https://youtu.be/xhgKQK2dTsM“Starship Racing! Bucky Ball Prison Circuit Qualifying Sumiton Elite Dangerous in a Flight Simulator” by Project SimStarr - https://youtu.be/18iqO32mNow“Prison Circuit” Buckyball Race resultshttps://forums.frontier.co.uk/threads/the-buckyball-racing-club-presents-prison-circuit-20th-30th-march-3312.646130/page-4#post-10804045